Brandenburg Concerto No.6 in B-flat major, BWV 1051 (Bach, Johann Sebastian)

Gardner Chamber Orchestra: Douglas Boyd, conductor

Boston: Isabella Stewart Gardner Museum

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Christian Mondrup

Christian Mondrup

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These file(s) are part of the Werner Icking Music Collection, and are also included in the Mondrup Recorder Collection.

Joseba Berrocal

Joseba Berrocal

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These file(s) are part of the Werner Icking Music Collection.

Wilhelm Rust (1822–1892)

Bach-Gesellschaft Ausgabe, Band 19
Leipzig: Breitkopf & Härtel, 1871. Plate B.W. XIX.

#16315: New York: Dover Publications, 1976.

Public Domain     [tag all files]

Large score: US CA JP UK DE FR – Dover vol. (reprint)

Performer's Edition (US users) — Petrucci-Merton (non-US users)

CCARH Team

Palo Alto: Center for Computer Assisted Research in the Humanities, 2004.

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Leipzig: Edition Peters, n.d.(ca.1915)

New York: Edwin F. Kalmus, n.d.(after 1933)

Public Domain     [tag all files]

These files are part of the Orchestra Parts Project.

Performer's Edition (US users) — Petrucci-Merton (non-US users)

Joseba Berrocal

Joseba Berrocal

Creative Commons Attribution Non-commercial Share Alike 3.0     [tag all files]

These file(s) are part of the Werner Icking Music Collection.

Joseba Berrocal

Joseba Berrocal

Creative Commons Attribution Non-commercial Share Alike 3.0     [tag all files]

These file(s) are part of the Werner Icking Music Collection.

Joseba Berrocal

Joseba Berrocal

Creative Commons Attribution Non-commercial Share Alike 3.0     [tag all files]

These file(s) are part of the Werner Icking Music Collection.

Joseba Berrocal

Joseba Berrocal

Creative Commons Attribution Non-commercial Share Alike 3.0     [tag all files]

These file(s) are part of the Werner Icking Music Collection.

Joseba Berrocal

Joseba Berrocal

Creative Commons Attribution Non-commercial Share Alike 3.0     [tag all files]

These file(s) are part of the Werner Icking Music Collection.

Joseba Berrocal

Joseba Berrocal

Creative Commons Attribution Non-commercial Share Alike 3.0     [tag all files]

These file(s) are part of the Werner Icking Music Collection.

Joseba Berrocal

Joseba Berrocal

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These file(s) are part of the Werner Icking Music Collection.

Max Reger (1873–1916)

Leipzig: C.F. Peters, n.d. Edition No.3108. Plate 9030

Public Domain     [tag all files]

US CA JP UK DE FR – Dover (reprint)

Performer's Edition (US users) — Petrucci-Merton (non-US users)

Christian Mondrup

Christian Mondrup

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J. S. Bach's original work is written solely for low strings (2 viola da braccio, 2 viola da gambe, violoncello and violone). We've attempted to reflect that by transcribing for "low" recorders, i.e. 2 trebles, 2 tenors and bass plus a basso continuo instrument (e.g. violoncello, bassoon or C-bass recorder)
Stringed instruments have considerably greater range than recorders. Therefore we didn't just copy the original string parts to the recorders but in stead made use of either transposing to another octave or splitting a musical phrase between sev- eral recorders depending on what seemed most musically reasonable to do. For example in case of a phrase starting at a high pitch and then later moving much lower we would chose to start a phrase (or a pair of phrases) in the higher instruments (trebles) and let the lower instruments (most often tenors) take over. By doing so we - as a secondary effect - have achieved a spreading of the "interesting" musical stuff more evenly between the instruments than in the original work having the main emphasis on the upper (viola da braccio) parts. The only unchanged part in our arrangement is the basso continuo part.
Generally we have transfered the slurs unchanged from the original score except for the cases of slurs spanning repeated 8th notes. These slurs are probably meant as bowing indications and hence don't make sense for recorders. In the recorder parts we have converted these slurs to accents but kept them unchanged in the basso continuo part as it probably will most often by played by a cello or viola da gamba.
These file(s) are part of the Werner Icking Music Collection, and are also included in the Mondrup Recorder Collection.

Annette Mondrup
Christian Mondrup

Christian Mondrup

Creative Commons Attribution Non-commercial Share Alike 3.0     [tag all files]

J. S. Bach's original work is written solely for low strings (2 viola da braccio, violoncello and violone). We've attempted to reflect that by transcribing for "low" recorders, i.e. 2 trebles and bass plus a basso continuo instrument (e.g. violoncello, bassoon or C-bass recorder)
The viola parts of the original work have been left unchanged apart from being transposed an octave up to make them playable on treble recorders. Contrarily several phrases of the violoncello part needed octave transpositions in order to adapt to the range of the F-bass recorder. Some of the octave transpositions are typeset with small types as alternatives, primarily in case of phrases containing low A-flats which are not playable on all F-bass recorders.
These file(s) are part of the Werner Icking Music Collection, and are also included in the Mondrup Recorder Collection.

Annette Mondrup
Christian Mondrup

Christian Mondrup

Creative Commons Attribution Non-commercial Share Alike 3.0     [tag all files]

J. S. Bach's original work is written solely for low strings (2 viola da braccio, 2 viola da gambe, violoncello and violone). We've attempted to reflect that by transcribing for "low" recorders, i.e. 2 trebles, 2 tenors and bass plus a basso continuo instrument (e.g. violoncello, bassoon or C-bass recorder)
Stringed instruments have considerably greater range than recorders. Therefore we didn't just copy the original string parts to the recorders but in stead made use of either transposing to another octave or splitting a musical phrase between sev- eral recorders depending on what seemed most musically reasonable to do. For example in case of a phrase starting at a high pitch and then later moving much lower we would chose to start a phrase (or a pair of phrases) in the higher instruments (trebles) and let the lower instruments (most often tenors) take over. By doing so we - as a secondary effect - have achieved a spreading of the "interesting" musical stuff more evenly between the instruments than in the original work having the main emphasis on the upper (viola da braccio) parts. The only unchanged part in our arrangement is the basso continuo part.
These file(s) are part of the Werner Icking Music Collection, and are also included in the Mondrup Recorder Collection.