Two Baroque Arias

AAsoloATBGbSb/SATTBBGbSb Edition Moeck 3358

Two Baroque Arias

JOHANN SEBASTIAN BACH (1685–1750) Schafe können sicher weiden

HENRY PURCELL (1659–1695) Dido’s Lament

for recorder orchestra adapted by Sylvia Corinna Rosin

Two Baroque Arias

JOHANN SEBASTIAN BACH (1685–1750) Schafe können sicher weiden from Cantata BWV 208

HENRY PURCELL (1659–1695) Dido’ s Lament from Dido and Aeneas

for recorder orchestra

adapted by Sylvia Corinna Rosin

score and 7 parts

Edition Moeck Nr. 3358 MOECK VERLAG CELLE The Recorder Orchestra

Ob ambitionierte Laien oder professio- Amongst recorder players, regardless if Qu’il s’agisse d’amateurs ambitieux ou nelle Spieler: Immer häufiger finden sich they are keen amateurs or professionals, de musiciens professionnels, de plus en mehrere oder sogar viele Blockflötisten it is becoming more and more widespre- plus souvent, plusieurs flûtistes, parfois zusammen, um ein größeres Block flö - ad that several or many players will même en grand nombre, désirent fonder ten ensemble oder ein Block flö ten or - come together in order to form a large un ensemble, voire un orchestre de flû- ches ter zu gründen. In erster Linie ste- recorder ensemble or a recorder orche- tes à bec. Les raisons qui les y incitent hen klang liche Gründe hinter dem stra. The main reason to join together is sont tout d’abord d’ordre sonore, étant Zusammen schluss, da das erweiterte to gain more sound. The extended donné que le spectre des timbres et la Klangspek trum, die Vielzahl an mögli- sound spectrum and the great variety of diversité des combinaisons possibles chen Kombi nationen von z. T. sehr tie- new combinations ranging from partly entre les flûtes très graves et les très fen wie auch sehr hohen Blockflöten very low to very high pitched recorders, aiguës permettent d’obtenir un ensem- und die damit verbundene Klangfülle along with the richness of tone that can ble de sons qui confère au jeu de la flûte eine neue Di mension im Block flö ten - be produced, opens new horizons in à bec une nouvelle dimension que des spiel verspricht, die kleinere Be set zun - recorder playing that smaller groups instrumentations de petite taille telles gen wie Trio, Quar tett oder Quintett such as trios, quartets or quintets cannot que trios, quatuors ou quintettes ne nicht bieten können. In zweiter Linie offer. Social reasons will also play a peuvent offrir. L’aspect social constitue dürften soziale Gründe eine Rolle dabei strong role, since what could be more la seconde raison, car il faut bien dire spielen, denn das Spiel in der großen fun than playing together in a large que jouer avec des amis et des amoureux Gruppe zusammen mit Freunden und group with friends and like-minded. de la flûte à bec au sein d’un grand grou- Gleichgesinnten macht großen Spaß. pe est fort plaisant. With their series “The Recorder Der Moeck Verlag möchte Blockflöten - Orches tra” Moeck publishers would En proposant sa série intitulée «The Re - ensembles und Blockflötenorchestern like to pro vide sheet music for recorder corder Orchestra», les éditions Moeck mit seiner Reihe „The Recorder Orche - ensembles and recorder orchestras that souhaitent mettre à la disposition des s tra“ hochwertige, passende und an - is of high quality, suitable and attractive. en sembles et des orchestres de flûtes à spre chende Literatur zur Verfügung The series contains mainly original bec des œuvres qui leur conviennent et stellen. Dabei handelt es sich überwie- works comprising old and new as well qui sont agréables à interpréter. Il s’agit gend um Originalkompositionen alter as arrangements of jazz standards or là avant tout de compositions originales und neuer Musik, aber auch um Be ar - other favourite classics. The performing de musique ancienne et nouvelle, mais bei tungen von Jazz-Standards oder material is specially designed for practi- aussi d’arrangements de pièces stan- anderen Klassikern. Das Auf führungs - cal use, including a score for the con- dards de jazz ou autres classiques. Le material wird praxisge recht gestaltet, ductor or ensemble leader and one com- matériel est conçu de façon à être facile indem immer eine Parti tur für den Di ri - plete set of parts. à utiliser, c’est à dire qu’il comprend genten oder Ensemble leiter zur Ver fü - toujours une partition pour le chef d’or- gung gestellt wird. These legally purchased parts may be chestre ou le responsable de l’ensemble. copied by the ensemble to meet their L’ensemble des différentes voix est éga- Ein vollständiger Satz Einzelstimmen individual re quirements. lement joint à la partition. liegt der Partitur bei. Diese (legal er - Translation: J. Whybrow wor benen) Stimmen können vom En - Ces partitions des différentes voix sem ble kopiert werden, um sich das (acquises légalement) peuvent être Stück entsprechend der eigenen Be set - photocopiées par l’ensemble afin qu’il zungsmög lichkeiten einzurichten. puisse adapter la pièce aux possibilités de sa propre in stru mentation. Traduction: A. Rabin-Weller 3

as vorliegende Heft Two Baroque he edition of Two Baroque Arias, e présent cahier intitulé Two Baroque DArias vereint zwei sehr bekannte Tcombines two very well known sopra- LArias combine deux célèbres arias Sopran-Arien, die ich für Blockflöten- no arias which I have adapted for recorder pour soprano dont j’ai réalisé un arrange- orchester bearbeitet habe: Schafe können orchestra: Schafe können sicher weiden is ment pour orchestre de flûtes à bec : l’aria sicher weiden stammt aus der Kantate from the cantata Was mir behagt, ist nur die Schafe können sicher weiden est tirée de la Was mir behagt, ist nur die muntre Jagd! muntre Jagd! (Hunting Cantata) BWV 208 cantate Was mir behagt, ist nur die muntre (Jagdkantate) BWV 208 von Johann by Johann Sebastian Bach (1685–1750). Jagd! (cantate de la chasse) BWV 208 écrite Sebastian Bach (1685–1750). Dido’s Dido’s Lament forms the conclusion of par Jean Sébastien Bach (1685–1750), tan- Lament bildet den Schluss der Oper the opera Dido and Aeneas by Henry dis que la Lamentation de Didon est l’air Dido and Aeneas von Henry Purcell Purcell (1659–1695). final de l’opéra Didon et Enée composé (1659–1695). Bach composed the Hunting Cantata for par Henry Purcell (1659–1695). Bach schrieb die Jagdkantate anlässlich the birthday celebrations of Prince Bach composa la cantate de la chasse à der Geburtstagsfeier des Fürsten Christian of Saxony-Weissenfels, who l’occasion de l’anniversaire du Duc Christian von Sachsen-Weißenfels, der in attempted to imitate the pomp of the Sun Christian von Sachsen-Weißenfels qui seiner Hofhaltung die Pracht des King at his own court. On 23rd February essayait de reproduire, dans la vie de sa Sonnenkönigs nachzuahmen suchte. Am 1713, after hunting, a table music (Tafel- Cour, la splendeur de celle du Roi Soleil. 23. Februar 1713 fand nach einer Jagd als Music) by Johann Sebastian Bach was per- Le 23 février 1713, à la suite d’une partie de Höhepunkt der bereits mehrere Wochen formed as the culmination of the festivities chasse, et pour couronner les festivités qui andauernden Festlichkeiten eine Tafel- which had taken place over the course of se déroulaient depuis plusieurs semaines Music von Johann Sebastian Bach statt. weeks. The Hunting Cantata is Bach’s ear- déjà, Jean Sébastien Bach composa une Die Jagdkantate ist Bachs früheste über- liest secular cantata to survive. The text is musique de table. Cette cantate de la chasse lieferte weltliche Kantate. Der Text by the High Ecclesiastical Secretary in est la cantate profane la plus ancienne dont stammt vom Weimarer Oberkonsisto- Weimar, Salomon Franck, whose poetry on ait eu connaissance. Ses paroles ont été rialsekretär Salomon Franck, dessen was Bach’s preference for putting to écrites par Salomon Franck, originaire de Dichtungen Bach bevorzugt vertonte. music. Weimar, Secrétaire du haut consistoire de Die Besetzung der Arie sieht neben The aria is sung by a solo soprano accom- Weimar, et dont Bach mettait volontiers einem Solo-Sopran zwei Altblockflöten panied by two alto recorders and basso les textes en musique. und Basso continuo vor. In der Fassung continuo. The tenor and alto (tutti) recor- Deux flûtes à bec alto, une flûte soprano für Blockflötenorchester übernehmen die ders play the vocal line; the bass, great bass solo et une basse continue sont les instru- Tenor- und (Tutti-)Altflöten die Gesangs- and subbass take on the basso continuo. ments intervenant dans l’aria. Dans la ver- stimme; Bass, Großbass und Subbass den Purcell’s first opera, Dido and Aeneas had sion pour orchestre de flûtes à bec, ce sont Basso continuo. its premiere in London in 1689. He put a les flûtes ténor et alto (tutti) qui jouent la urcells erste Oper Dido and Aeneas text by the English poet Nahum Tate to partie chantée, tandis que la basse, la gran- Pwurde 1689 in London uraufgeführt. music, which is faithful to the correspon- de basse et la soubasse interprètent la Er schrieb sie auf einen Text des engli- ding episodes from Virgil’s Aeneid. Dido’s basse continue. schen Dichters Nahum Tate, der sich lament – sung by a lamento bass – is the idon et Enée, le premier opéra que darin eng an die entsprechenden climax of the opera and at the same time Dcomposa Purcell, fut présenté pour la Episoden in Vergils Aeneis anlehnte. also its conclusion. Dido dies of a broken première fois à Londres en 1689. Purcell Didos Klagegesang – von einem Lamento- heart. In the following final chorus, the basa sa composition sur un livret du poète Bass getragen – ist der Höhepunkt und gods of love appear between the clouds anglais Nahum Tate qui s’était fortement zugleich das Ende der Oper. Dido stirbt and strew roses on her grave. inspiré des épisodes correspondant tirés an gebrochenem Herzen. In dem folgen- Translation: A. Meyke de l’Enéide de Virgile. La lamentation de den Schlusschor erscheinen Liebesgötter Didon – portée par une basse obstinée – in den Wolken und bestreuen ihr Grab est non seulement l’apogée mais aussi la mit Rosen. fin de l’opéra. Didon meurt, le cœur brisé. Dans le chœur final, les dieux de l’amour apparaissent aux cieux et répandent des roses sur son tombeau. Traduction: A. Rabin-Weller Sylvia Corinna Rosin 2020

Dido’s Lament: Die ad-libitum-Stimme Dido’s Lament: You can download the ad- Dido’s Lament: En option, la partition im Violinschlüssel für Sub-Großbass kann libitum part for sub great bass notated in pour sous-grande basse (clé de sol) peut heruntergeladen werden unter: treble clef as a pdf file on: être téléchargée au format Pdf sur le site: www.noten-im-netz.de www.noten-im-netz.de www.noten-im-netz.de 4 Schafe können sicher weiden from Cantata BWV 208 (Jagdkantate) for recorder orchestra adapted by Sylvia Corinna Rosin Johann Sebastian Bach (1685–1750) Alto 1 b (solo) & b c p Alto 2 b (solo) & b c p Alto (Tutti) b +Tenor & b c Bass Ê b b n b c simile Great Bass (Bass 2) Ê b b c simile Subbass ? b b c simile

4 A1 b (solo) & b Ó p f A2 b (solo) & b Ó p A(Tutti) f § , b +T & b . J Scha---- fe kön nen si cher wei den, B Ê bb

GB (B 2) Ê # bb

Sb ? b b

7 A1 b (solo) & b A2 b (solo) & b A(Tutti) , j , +T b & b . J Ç b . n wo ein gu-- ter Hir te wacht, Scha---- fe kön nen si cher wei den, B Ê bb n

GB (B 2) Ê n bb Sb ? bb © 2020 by Moeck Musikinstrumente + Verlag GmbH, Celle, Germany · Edition Moeck Nr. 3358 (Noteninfo) © 2020 by Moeck Musikinstrumente + Verlag GmbH, Celle All rights reserved Edition Moeck Nr. 3358 · ISMN M-2006-3358-0 Edition Moeck Nr. 3338 Printed in Germany 5

11 A 1 b (solo) & b ± J ± ± J ± A2 b (solo) & b ± J ± ± J ± A(Tutti) b , . +T & b J Scha ----fe kön nen si cher wei den, wo ein gu- ter

B Ê bb

GB (B 2) Ê bb Sb ? bb

14 A1 b (solo) & b Ó ± A2 b (solo) & b Ó ± § A(Tutti) b . §. +T & b . Ç Ó J Ó Hir- teJ wacht, wo ein gu --ter Hir te wacht.

B b b b Ê bb

GB (B 2) Ê bb

Sb ? b b

18 A1 b (solo) & b p f p A2 b (solo) & b p f p A(Tutti) b +T & b B n Ê bb

GB (B 2) Ê bb

Sb ? b b © 2020 by Moeck Musikinstrumente + Verlag GmbH, Celle, Germany · Edition Moeck Nr. 3358 (Noteninfo) Vervielfältigungen jeglicher Art sind gesetzlich verboten Any unauthorized reproduction is prohibited by law · Toute reproduction est interdite par la loi 6 Fine 21 U A1 b (solo) & b Ó A 2 b U (solo) & b Ó

A(Tutti) , , b #. § +T & b J n . J Wo Re-- ge n t e n wohl re-- gie ren, kann man Ruh' und Frie-- den spü ren, B U b n Ê bb U GB (B 2) # Ê bb n Sb U ? bb n n

25 n A1 b b (solo) & b Ó A2 b b (solo) & b Ó n A(Tutti) b b +T & b n Ç und was Län--- der glück lich macht,

B b b n n Ê bb

GB (B 2) Ê bb n

Sb ? b b

29 n n A1 b (solo) & b A2 b (solo) & b A(Tutti) b +T & b Ó . J wo Re --gen ten wohl re - B Ê bb

GB (B 2) Ê bb

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32 # n A1 b n # (solo) & b Ó A2 b n b # (solo) & b Ó

A(Tutti) , , b n . n + T & b J # n nÇ gie- ren, kann man Ruh' und Frie-- den spü ren, Ruh' B Ê bb b GB (B2) Ê bb # # n

Sb ? b n # b #

35 A1 b n (solo) & b n A2 b # n n (solo) & b n A(Tutti) b , bÇ n Ç +T & b b Ç und Frie ---den, Ruh' und Frie -

B n Ê bb

GB (B 2) Ê bb n n

Sb ? b n n b

38 D.C. al Fine n A1 b n (solo) & b Ó A2 b n n (solo) & b n Ó

A(Tutti) , b n +T & b Ç --den spü -ren, und was Län - der glück- lich macht. B n Ê bb n n

Edition Moeck Nr. 3358 8 DidoތsLament from Dido and Aeneas for recorder orchestra adapted by Sylvia Corinna Rosin A Very soft and slow Henry Purcell (1659–1695) Soprano b p b 23 Ó

Alto b & b 23 Ó Ç Ç Ç Ç Ç nÇ When I am laid, am

Tenor 1 b & b 23 Ó Ç Ç Ç Ç Ç nÇ When I am laid, am

Tenor 2 bb 3 Ó & 2 w Ç w Ç

Bass 1 Ê 3 bb 2 Ó w Ç w Ç

Bass 2 Ê 3 bb 2 Ó w Ç w Ç

Great Bass Ê b 3 Ó b 2 w Ç w Ç , Subbass ? 3 Ç w# nÇ Ç w# nÇ bb 2 wn bÇ w Ç Ç w 7 w S b p b , , A b j j . . Ç Ç j & b . . # w# J Ç. w Ç Ç . # laid J . in earth, may my wrongsJ cre ---ate No trou ble, no trou ble in thy , T1 b j j , . . Ç Ç j & b . . # w# J Ç. w Ç Ç . # laid J . in earth, may my wrongsJ cre ---ate No trou ble, no trou ble in thy

T2 b & b w w Ç w Ç Ç w w Ç Ç #Ç Ç

B1 Ê b w b Ç w w Ç Ç w w Ç Ç Ç w

B2 Ê b b Ç w w Ç Ç w w Ç Ç w Ç w

Gb Ê b Ç Ç b w Ç w Ç w #Ç Ç w Ç Ç w

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B 13 S b p b , A b j j . . & b w Ó Ç Ç Ç Ç Ç nÇ . . # w# J Ç. breast. When I am laid, am laid J . in earth, may my wrongsJ cre - , T1 b j j . . & b w Ó Ç Ç Ç Ç Ç nÇ . . # w# J Ç. breast. When I am laid, am laid J . in earth, may my wrongsJ cre -

T 2 bb & w# Ç Ç w# Ç w w Ç w Ç w Ç Ç w

B1 Ê bb w Ç Ç w Ç Ç Ç w Ç Ç w w Ç Ç w

B2 Ê bb w Ç Ç w Ç Ç Ç w Ç Ç w w Ç Ç w

Gb Ê b b w Ç Ç w Ç Ç Ç w Ç w Ç w Ç w #Ç

Sb , ? b w Ç Ç Ç Ç w# nÇ wn bÇ w Ç Ç Ç b Ç Ç w Ç Ç

C 20 S b p b , A b Ç Ç j . Ç & b w Ç Ç . # w Ó J Ó ate No trou-- ble, no trou ble in thy breast. re -mem- ber me, , T1 b Ç Ç j . Ç & b w Ç Ç . # w Ó J Ó ate No trou-- ble, no trou ble in thy breast. re -mem- ber me,

T2 bb Ç & w Ç w Ç #Ç Ç w# Ç w #Ç w

B1 Ê b w Ç w b w Ç Ç Ç w w Ç w Ç

B2 Ê b Ç b w Ç Ç w Ç w w Ç w w Ç

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26 S b p b

A b . Ç Ç w & b J Ó Ç Ç . Ç. re --mem ber me, but ah! for -get J my fate. Re -

T 1 b . Ç Ç w & b J Ó Ç Ç . Ç. re --mem ber me, but ah! for -get J my fate. Re -

T2 b Ç & b Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç # Ç w w

B1 Ê w Ç w# Ç Ç bb Ç Ç Ç Ç w Ç w w

B2 Ê w Ç w# Ç Ç bb Ç Ç Ç Ç w Ç w w

Gb Ê b b w Ç w Ç w Ç Ç Ç Ç Ç #Ç Ç w Ç

Sb , ? b w# nÇ wn bÇ w Ç Ç Ç Ç w# nÇ b Ç Ç w

32 S b p b , A b . Ç. Ç Ç . Ç & b J Ç w J Ó mem-- ber me, but ah! for get my fate. Re --mem ber me, re - , T1 b . Ç. Ç Ç . Ç & b J Ç w J Ó mem-- ber me, but ah! for get my fate. Re --mem ber me, re -

T2 b Ç , & b w Ç w Ç #Ç w Ç Ç Ç Ç Ç Ç Ç , B1 Ê Ç. Ç w Ç # Ç bb Ç w w Ç Ç Ç Ç Ç n , B2 Ê Ç. Ç w Ç # Ç bb Ç w w Ç Ç Ç Ç Ç n , Gb Ê b bÇ b Ç Ç Ç w Ç Ç Ç w Ç w Ç Ç

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S b p b , A b . Ç w . Ç. Ç Ç & b J Ç Ç . Ç. J mem-- ber me, but ah! for get J my fate. Re --mem ber me, but ah! , T1 b . Ç w . Ç. Ç Ç & b J Ç Ç . Ç. J mem-- ber me, but ah! for get J my fate. Re --mem ber me, but ah!

T 2 b Ç Ç & b Ç Ç Ç Ç Ç # Ç w w w Ç w

B1 Ê w# Ç Ç Ç. Ç w Ç bb Ç w Ç w w

B2 Ê w# Ç Ç Ç. Ç w Ç bb Ç w Ç w w

Gb Ê b bÇ w b w Ç Ç Ç Ç Ç #Ç Ç w Ç Ç Ç Ç

Sb , ? b w Ç Ç Ç Ç w# nÇ wn bÇ w b Ç Ç w Ç

E 44 S b p b

A b Ç Ç #Ç nÇ Ç nÇ bÇ & b Ç w. for - get my fate.

T1 b Ç Ç Ç Ç. & b Ç w. #Ç nÇ Ç nÇ bÇ Ç Ç . for - get my fate. J

T2 bb Ç Ç #Ç nÇ Ç nÇ bÇ Ç Ç Ç Ç. . & Ç #Ç w. J , B1 Ê Ç Ç Ç Ç Ç Ç. w# , bb Ç w w Ç Ç Ç Ç w Ç , B2 Ê Ç Ç Ç Ç Ç Ç. w# , bb Ç w w Ç Ç Ç Ç w Ç

Gb Ê b b Ç Ç Ç w.

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51 F S b p b 4

A b Ç 4 & b Ç Ç Ç #Ç nÇ Ç nÇ bÇ Ç Ç. 4 Ó , , T 1 b 4 & b w Ç Ç. Ç w Ç w #Ç 4 With droop --ing wings ye Cu pids come, with , , T2 b 4 & b w Ç Ç. Ç w Ç w #Ç 4 With droop - ing wings ye Cupidscome,with-

B1 Ê b Ç w# Ç 4 b w Ç w Ç w 4 Ó

B2 Ê b Ç w# Ç 4 b w Ç w Ç w 4 Ó

Gb Ê b 4 b 4 Ó With droop-- ing wings# ye Cu pids Sb ? w# nÇ 4 bb wn bÇ w Ç Ç Ç Ç 4 Ó Ç Ç With droop - ing wings ye

58 S b p b

A b & b , T1 b & b # # droop ---n ing wings, with droop ---ing wings, with droop -ing wings ye , T2 b & b # # droop ---n ing wings, with droop ---ing wings, with droop -ing wings ye B1 Ê # bb Ó With droop --ing wings ye Cu pids come, with droop --ing wings ye Cu B2 Ê # bb Ó With droop --ing wings ye Cu pids come, with droop --ing wings ye Cu , , Gb Ê bb come, with droop -- ing droop ing wings, with droop - ing wings, with droop - ing wings,# with droop - ing wings ye , Sb ? bb Ç Ç. Cu- pids come, with droop --ing wings ye Cu pids come, ye © 2020 by Moeck Musikinstrumente + Verlag GmbH, Celle, Germany · Edition Moeck Nr. 3358 (Noteninfo)

Edition Moeck Nr. 3358 13

64 S b p b

A b & b

, j T1 b j . & b ± Ç Ó Cu-- pids come, And scat ter ro-- ses, scat ter, scat- ter roses on her tomb,

, j T 2 b j . & b ± Ç Ó Cupidscome,And- scat-- ter ro ses, scat --- ter, scat ter rosesonhertomb, , , B1 Ê # # n # #Ç # bb ±J --pids come, And scat ter roses, scat- ter, scat- ter roses on her tomb, Soft, soft and , , B2 Ê # # n # #Ç # bb ±J --pids come, And scat ter roses, scat- ter, scat- ter roses on her tomb. Soft, soft and

Gb Ê bb Ó ± Ç Ó #Cu -- pids come, AndJ scat ter, scat- ter ro - ses on her tomb, Soft, soft, , Sb ? # bb ± Ç Ó Cu-- pids come, AndJ scat ter roses, scat- ter roses on her tomb,

70 S b p b

A b & b

T1 b , n n . n & b Ó # # # # Soft, soft and gen- tle, soft, soft, soft, soft and gen- tle as her , T2 b n n . n & b Ó # # # # Soft, soft and gen- tle, soft, soft, soft, soft and gen- tle as her , B1 Ê . . bb J n . # n n gen-- tle as her heart, gen tle as her heart, soft, soft, soft and gen-- tle, gen tle as her , B2 Ê . . bb J n . # n n gen-- tle as her heart, gen tle as her heart, soft, soft, soft and gen-- tle, gen tle as her

Gb Ê # bb Ó soft and gen - tle as her heart, soft, soft and genn- tle as her , Sb ? # n n n j bb # Soft, soft and gen- tle, soft, soft, soft, soft, soft and gen. - tle as her © 2020 by Moeck Musikinstrumente + Verlag GmbH, Celle, Germany · Edition Moeck Nr. 3358 (Noteninfo)

Edition Moeck Nr. 3358 14

76 S b p b

A b & b

T 1 b . j & b ± J J ± ± n ± heart. Keep here, here your watch, keepJ here, here keep here your watch, andJ ne-- ver, ne ver, ne - ver part, and

T2 b . j & b ± J J ± ± n ± heart. Keep here, here your watch, keepJ here, here keep here your watch, andJ never,- never,--neverpart,and

B1 Ê # . # bb ±J ± J ± J n ± J heart. Keep here, here your watch, keep here, here, keep here your watch, and ne-- ver, ne .ver, ne - ver part, and

B2 Ê # . # bb ±J ± J ± J n ± J heart. Keep here, here your watch, keep here, here, keep here your watch, and ne-- ver, ne ver, ne - ver part, and

Gb Ê j j bb ± . ± ± j ± heart. KeepJ here, here your watch, keep here, here, keep here your watch, andJ ne-- ver, ne ver, ne. - ver part, andJ

Sb ? j j j bb ± . ± J ± . ± heart. KeepJ here, here your watch, keep here, here, keep here your watch, and ne-- ver, ne ver, ne - ver part, andJ

G 82 S b , p b With droop --ing wings ye Cu pids come, with droop -

A b & b With droop - , T1 b , & b . . ne-- ver, ne ver, ne - ver, ne - ver part. With droop -ing wings ye Cu - pids come, with droop -

T2 b & b . . # ne-- ver, ne ver, ne - ver, ne - ver part. With droop -ing wings ye Cu - pids come, with

B1 Ê # . . Ç bb J Ó ne-- ver, ne ver, ne - ver, ne - ver part. With droop -

B2 Ê # . . Ç bb J Ó ne-- ver, ne ver, ne - ver, ne - ver part. With droop -ing wings ye Cu - pids come,

Gb Ê b . b Ç ne-- ver, ne ver, ne - ver, ne - verJ part. With droop -ing wings# ye Cu - pids come, with Sb ? bb Ó ne-- ver, ne ver, ne - ver, ne - ver part.Ç With droop -ing wings ye Cu - pids come, © 2020 by Moeck Musikinstrumente + Verlag GmbH, Celle, Germany · Edition Moeck Nr. 3358 (Noteninfo)

Edition Moeck Nr. 3358 15

88 S b , j p b ± --# n ing wings, with droop -ing wings, with droop --ing wings# ye Cu pids come, And A # # bb Ó ± J & --ing wings ye Cu pids come, with droop --ing wings ye Cu pids come, And , T1 b j & b # # ± --n ing wings, with droop -ing wings, with droop --ing wings ye Cu pids come, And , , T 2 b & b droop --ing droop ing wings, with droop - ing wings, with droop - ing wings,# with droop - ing wings ye #Cu - pids come, B1 Ê # # bb Ó ±J --ing wings ye Cu pids come, with droop --ing wings ye Cu pids come, And B2 Ê , bb Ç Ç. with droop --ing wings ye Cu pids come, ye Cu- pids come, , , Gb Ê bb droop -- ing droop ing wings, with droop - ing wings, with droop - ing wings,# with droop - ing wings ye #Cu - pids come, , Sb ? bb Ç Ç. with droop --ing wings ye Cu pids come, ye Cu- pids come,

94 , j S b . p b Ç Ó Ó scat-- ter ro ses, scat --- ter, scat ter ro ses on her tomb, Soft,

A , , bb # n # #Ç # & scat-- ter ro ses, scat --- ter, scat ter ro ses on her tomb, Soft, soft and gen- tle as her

, j T1 b . & b Ç Ó Ó scat-- ter ro ses, scat --- ter, scat ter ro ses on her tomb, Soft,

T2 b Ç # & b Ó ±J Ó And scat-- ter, scat ter ro - ses on her tomb, Soft, soft, soft and gen- tle , , B1 Ê # n # #Ç # bb scat-- ter ro ses, scat --- ter, scat ter ro ses on her tomb, Soft, soft and gen - tle as her , B2 Ê # # bb ± Ç Ó AndJ scat---- ter ro ses, scat ter ro ses on her tomb, Soft, soft

Gb Ê # bb Ó ± Ç Ó AndJ scat-- ter, scat ter ro - ses on her tomb, Soft, soft, soft and gen - tle , Sb ? # # bb ± Ç Ó AndJ scat---- ter ro ses, scat ter ro ses on her tomb, Soft, soft © 2020 by Moeck Musikinstrumente + Verlag GmbH, Celle, Germany · Edition Moeck Nr. 3358 (Noteninfo)

Edition Moeck Nr. 3358 16

100 , S b n n . n . p b # # # # ± J J ± soft and gen- tle, soft, soft, soft, soft and gen- tle as her heart. Keep here, here your watch, keepJ . . A b , n . n . n # & b J # ± J ± J heart, gen--- tle as her heart, soft, soft, soft and gen tle, gen tle as her heart. Keep here, here your watch, keep

T 1 b , n n . n . & b # # # # ± J J ± soft and gen- tle, soft, soft, soft, soft and gen- tle as her heart. Keep here, here your watch, keepJ

T2 b j & b Ó ± J . ± asherheart, soft, soft, and genn- tle as her heart. Keep here, here yourJ watch, keep , B1 Ê . . # . bb J n . # n n ±J ± J heart, gen--- tle as her heart, soft, soft, soft and gen tle, gen tle as her heart. Keep here, here your watch, keep , B2 Ê n j j bb n # n ± . ± J and gen- tle, soft, soft, soft, soft, soft and gen. - tle as her heart. KeepJ here, here your watch, keep

Gb Ê j j bb Ó ± . ± as her heart, soft, soft, and genn- tle as her heart. KeepJ here, here your watch, keep , Sb ? n n n j j bb # ± . ± J and gen- tle, soft, soft, soft, soft, soft and gen. - tle as her heart. KeepJ here, here your watch, keep

107 S b j U p b ± n ± . . w here, here keep here your watch, andJ ne-- ver, ne ver, ne - ver part, and ne-- ver, ne ver, ne - ver, ne - ver part. U A b n # # . . w & b ± J ± J J here, here, keep here your watch, and ne-- ver, ne .ver, ne - ver part, and ne---- ver, ne ver, ne ver, ne ver part.

T1 b j U & b ± n ± . . w here, here keep here your watch, andJ ne-- ver, ne ver, ne - ver part, and ne-- ver, ne ver, ne - ver, ne - ver part.

T2 b j . Uw & b ± J . ± J J here, here, keep here your watch, and ne-- ver, ne ver, ne - ver part, and ne-- ver, ne ver, ne - ver, ne - ver part. U B1 Ê # # . . w bb ± J n ± J J here, here, keep here your watch, and ne-- ver, ne .ver, ne - ver part, and ne---- ver, ne ver, ne ver, ne ver part.

B2 Ê j j U bb ± . ± here, here, keep here your watch, and ne-- ver, ne ver, ne - ver part, andJ ne-- ver, ne ver, ne - ver, ne - ver part.w

Gb Ê U bb ± j ± . w here, here, keep here your watch, andJ ne-- ver, ne ver, ne. - ver part, andJ ne -- ver, ne ver, ne - ver, ne - verJ part.

Sb ? j j U bb ± . ± here, here, keep here your watch, and ne-- ver, ne ver, ne - ver part, andJ ne-- ver, ne ver, ne - ver, ne - ver part.w © 2020 by Moeck Musikinstrumente + Verlag GmbH, Celle, Germany · Edition Moeck Nr. 3358 (Noteninfo)

Edition Moeck Nr. 3358 The Recorder Orchestra

Johann Sebastian Bach: Jesus bleibet meine Freude (S. C. Rosin) Glenn Miller: Moonlight Serenade (P. Leenhouts) Chorale from Cantata BWV 147 SAAATTBGb · P+St · Edition Moeck Nr. 3304 SATTBBGbSb · P+St · Edition Moeck Nr. 3332 Moritz Moszkowski: Spanish Dances, op. 12 no. 1 & 2 (S. C. Rosin) – : Singet dem Herrn ein neues Lied (B. Spanhove) SATTBGbSb · P+St · Edition Moeck Nr. 3330 ATBGb ATBGb Sb · P+St · Edition Moeck Nr. 3351 Leopold Mozart: Das vor Kälte zitternde und – : 3 Chorale Preludes and Chorales (B. Spanhove) schnatternde Frauenzimmer (I. Beutler) SATTBBGbSb · P+St · Edition Moeck Nr. 3334 from Die musikalische Schlittenfahrt, Irmhild Beutler: Seemannsgarn SinoAATBBBSb · P+St · Edition Moeck Nr. 3329 SSAATTBBGbSb · P+St · Edition Moeck Nr. 3346 Wolfgang Amadeus Mozart: Ave verum corpus (S. C. Rosin) Irmhild Beutler (arr.): El Sol y La Luna (Andalusian Folksong) SATB – TBGbSb · P+St · Edition Moeck Nr. 3342 SSAATTBBGbSb+Tambourine · P+St · Edition Moeck Nr. 3343 – : Die Zauberflöte – Ouvertüre (F. Steinhöfel) – : Evening Rise (Native American Song) 2S 2A 4T 4B 2Gb Sb · P+St · Edition Moeck Nr. 3322 SAATTTBBGbSb · P+St · Edition Moeck Nr. 3352 Johann Pachelbel: Kanon und Gigue (S. C. Rosin) – : La Gondoletta (Venetian Folksong) SSSAAATTTBGbSb · P+St · Edition Moeck Nr. 3317 SinoSAATB(+Sb) · P+St · Edition Moeck Nr. 3312 Hieronymus Praetorius: Two Antiphonal Christmas Chorals, 1622 – : Marche des Rois (Traditional) SSAT(A) – T(A)TBB · P+St · Edition Moeck Nr. 3308 SinosoloSAATTBBGbSb · P+St · Edition Moeck Nr. 3348 Henry Purcell: Chacony (S. C. Rosin) – : Nachtschwärmerei (Spanish Folksong) SATBGbSb · P+St · Edition Moeck Nr. 3326 GspSinoSAATBBGbSb · P+St · Edition Moeck Nr. 3315 Pete Rose: Mega-RONY (2004) Georges Bizet: Carmen – Entr’acte II (F. Steinhöfel) SSAATTBGbPerc. ad lib. · P+St · Edition Moeck Nr. 3306 SAT5B4Gb3Sb Harp(ad lib.) · P+St · Edition Moeck Nr. 3319 Sylvia Corinna Rosin: Bear Heart Johannes Brahms: Hungarian Dance No. 5 (P. van der Meer/A. Deckmyn) SATBGbSb2Dr · P+St · Edition Moeck Nr. 3347 SinoSATTBBBGbSb · P+St · Edition Moeck Nr. 3339 – : Dance of Joy Marc-Antoine Charpentier: Prélude (S. C. Rosin) SSAATTBBGbGbSbSb · P+St · Edition Moeck Nr. 3349 SSATBGbSb · P+St · Edition Moeck Nr. 3350 – : Double Pleasure Edward Elgar: Salut d’amour (I. Beutler) SAATBGbSb · P+St · Edition Moeck Nr. 3335 SAATBBGbSb · P+St · Edition Moeck Nr. 3337 – : Full House George Gershwin: Summertime (S. C. Rosin) from Porgy and Bess SinosoloSATBBGbSb · P+St · Edition Moeck Nr. 3345 SATBGb(Sb) · P+St · Edition Moeck Nr. 3320 – : Morning Mist – : Two Songs (S. C. Rosin) SsoloATBBSb · P+St · Edition Moeck Nr. 3344 I Got Rhythm · Somebody Loves Me – : Raindrops SinosoloATTBGbSb/SsoloA3T2BGbSb · P+St · Edition Moeck Nr. 3341 SinoSSSAATTBGbSb · P+St · Edition Moeck Nr. 3323 Edvard Grieg: Peer Gynt Suite No. I, op. 46 (H.-D. Michatz) – : Singing Wind recorder orchestra · P+St · Edition Moeck Nr. 3324 SSsoloAATTBGbSb Tr · P+St · Edition Moeck Nr. 3357 – : Solveig’s Song (H.-D. Michatz), from Peer Gynt Suite No. II, op. 55 – : Towards the Sun S(Sino)SAATTTTBBGbSb · P+St · Edition Moeck Nr. 3328 SSsoloAATTBBGbSb · P+St · Edition Moeck Nr. 3355 Georg Friedrich Händel: Chaconne in C (I. Beutler) Sylvia Corinna Rosin (arr.): God Rest You Merry, Gentlemen Theme and 11 Variations from HWV 443 and 484 SinoSATBGbSb · P+St · Edition Moeck Nr. 3314 SinosoloSAATTBGbSb · P+St · Edition Moeck Nr. 3356 – : Prelude and Fuge in C major – : Pifa (S. C. Rosin) from Acht kleine Praeludien und Fugen formerly ascribed to J. S. Bach SATBGbSb · P+St · Edition Moeck Nr. 3350 SATBGbSb · P+St · Edition Moeck Nr. 3331 – : Sarabande (S. C. Rosin) – : The River (Native American Song) from Suite No. 4 in D minor for Cembalo (HWV 437) SSAATBSb+Drum · P+St · Edition Moeck Nr. 3310 SinoSATB(Gb)(Sb) · P+St · Edition Moeck Nr. 3313 – : The Silvermines – : Two Arias (S. C. Rosin) SinosoloSAT(T)BGbSb · P+St · Edition Moeck Nr. 3353 Lascia ch’io pianga · Ombra mai fù Franz Schubert: Ständchen (S. C. Rosin) SATBGbSb/SA(T)TBSb · P+St · Edition Moeck Nr. 3336 S(solo)ATBGbSb · P+St · Edition Moeck Nr. 3338 Engelbert Humperdinck: Abendsegen (I. Beutler) Robert Schumann: Abendlied (S. C. Rosin) 2S 4A 3T 4B Gb Sb · P+St · Edition Moeck Nr. 3327 S(solo)ATBGbSb · P+St · Edition Moeck Nr. 3338 Scott Joplin: Two Waltzes (I. Beutler) – : Romanze (I. Beutler) from Symphony No. 4 SinoSATBGbSb · P+St · Edition Moeck Nr. 3333 SSAATTBBBGbSb · P+St · Edition Moeck Nr. 3321 Pietro Lappi: La Negrona (Rauerij, 1608) Johann Strauß Sohn: Persischer Marsch (I. Beutler) Doppel chörige Canzone zu 8 Stimmen SinoSSAATTTBBBGbSb · P+St · Edition Moeck Nr. 3354 SSS(A)T – S(A)ATGb(B) · P+St · Edition Moeck Nr. 3302 Peter I. Tchaikovsky: Dance of the Swans (I. Beutler) Paul Leenhouts: Ixi – Mixi – Dixi (1985) from Swan Lake, op. 20 SAAATTB · P+St · Edition Moeck Nr. 3307 SSAATTBBGbSb · P+St · Edition Moeck Nr. 3340 – : Juego de Galilei (1999) – : Ouverture miniature (D. Schnabel) 4Sino 4A 4B 2Sb, Kontrabass oder Bassgitarre · P+St from The Nutcracker Ballet, op. 71 Edition Moeck Nr. 3303 SinoSSAATTBBBGbTr · P+St · Edition Moeck Nr. 3318 J.-B. Lully: Marche pour la Cérémonie des Turcs (S. C. Rosin) Hans Joachim Teschner: Seaport Jump (2008) SinoSSATBGbSb+Drum · P+St · Edition Moeck Nr. 3316 SAAATTTBGbSb · P+St · Edition Moeck Nr. 3309 Matthias Maute: Ten Times Tenor (2004) – : Elbtraum (2008) für 10 Tenor blockflöten · P+St · Edition Moeck Nr. 3301 SAAATTTBGbSb · P+St · Edition Moeck Nr. 3311 Felix Mendelssohn Bartholdy: Andante (H.-D. Michatz) Hartmut Tripp: Der Treppenwitz from Symphony No. 4 (Italian) SAATTBBGb · P+St · Edition Moeck Nr. 3325 SSAAATTB/Gb/Sb · P+St · Edition Moeck Nr. 3305

MOECK MUSIKINSTRUMENTE + VERLAG GmbH Postfach 3131 • D-29231 Celle www.moeck.com, ISMN M-2006-3358-0, Titelentwurf: Christoph Zehm