InstantHarmony

 Music

E-Editions


Instant Harmony is publishing two kinds of e-editions: original and reissued. The original editions are generally not available anywhere else only here in e-form. The reissued editions were out of print for many years.

Please note: When you order an e-edition from us by paying with Paypal, we will send you the file as an e-mail attachment. Save the file, then print it off. It should be viewable on any computer.

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Praise:
"Downloading music in the public domain online is not so unusual, but ordering music and paying the composer, editor or publisher directly for it is. It's a great way to buy music, and the fact that the person doing the work of composing or editing actually gets paid is highly commendable.
     Another new thing is the practice of publishing a part with the solo and continuo lines printed together. [David] Lasocki calls this a 'double part.' For years I have longed for published music with the solo part and the continuo on the same page so that my students could see both (and presumably listen to them) together. The little notes on the full score are too small for some eyes, and trying to teach a solo sonata without the continuo being visually available to the soloist is often quite frustrating. This double part is now being used by other publishers as well."
     From a review by Martha Bixler, American Recorder 56, no. 4 (winter 2015): 36-37.

"Dear David [Lasocki],
     I have been enjoying so much becoming acquainted with the original recorder sonatas you have published. It's a delight to play them and to be immersed in music which was conceived primarily for the recorder. It's a refreshing and illuminating experience to study the peculiar idiom of our instrument. It seems you picked the pieces carefully, because each one of them has something of its own, yet all or most of them have something in common -- something which is quite different in spirit than what can be found in a selection of pieces for, e.g., the traverso or the violin.
     I have also been enjoying the very clear and friendly format of your editions. And very important -- with your editions I don't have this irritating feeling which I feel sometimes with other editions, that something is not correct.
     So, dear David, please continue to enrich us with your holy work and to publish new editions.
     Yours sincerely, Shimon Bouzaglo" (Israel)

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NEW REISSUE SERIES

Out of print for many years. Now reissued by Instant Harmony as e-editions.

     Gottfried Keller, Quintet in C major for Two Treble (Alto) Recorders, Two Oboes or Violins, and Basso Continuo, edited by David Lasocki (London: Nova Music, 1981; N.M.196).

     Augustine Bassano, Pavans and Galliards in 5 Parts for an Ensemble of Recorders (Flutes/Viols/Shawms/Cornetts and Sackbuts) S.A.A./T.T.B., edited by Peter Holman (London: Nova Music, 1981; N.M.201).

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ORIGINAL SERIES OF E-EDITIONS EDITED BY DAVID LASOCKI

     Pieces for Solo Alto Recorder Collected by Julius Bernhard Lutter at the Hannover Court (1709)

Never published before, not even in the Baroque period!

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     49 Preludes, Fantaisies, and Caprices for Solo Alto Recorder Collected by Charles Babel (ca. 1700)

Never published before, not even in the Baroque period!

Praise:
"David Lasocki, profunder Kenner historischer Blockflötenliteratur, stellt nun mit seiner Ausgabe eine Sammlung vor, die sich als wunderbares historisches Beispiel der Verbindung von (Spiel-)Lust und Didaktik erweist.... Lasocki stellt dem Neudruck ein ausführliches Vorwort (19 Seiten!) voran.... Unbedingt lesen!"
     [David Lasocki, a great connoisseur of historical recorder literature, now presents a collection that proves to be a wonderful historical example of the connection between (playing) fun and learning.... Lasocki includes a detailed preface in the new edition (19 pages!).... A must-read!]
     Nikolaus Delius, review in TIBIA 42, no. 2 (2017): 452-53.

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     James Paisible, Collected Duets from Manuscripts and Printed Collections for Two Alto Recorders

The manuscript duets have never been published before!

Praise:
"David Lasocki has compiled an extraordinary resource.... All of these pieces would be accessible for an intermediate player, while also providing a variety of musical challenges for advanced players. Many of the sonata movements could be useful for teaching students when and how to shape phrases, ornamentation and sensitivity in playing a tightly composed duet. Both parts are equally important, with the voices often crossing and imitating each other.... This is a great collection! Keep them coming!"
     Bruce Calvin, review in American Recorder 55, no. 3 (fall 2014): 42

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     James Paisible, Three Sonatas in D minor, F major, and C major (Paris ms., XI-XIII) for Alto Recorder and Basso Continuo

Never published before, not even in the Baroque period!

Praise:
"Paisible was a virtuoso on both the recorder and bass violin, and his understanding of these instruments is reflected in these three sonatas.... exciting to play and perform. Overall, Lasocki's modern edition and the basso continuo realization by Bernard Gordillo of these three sonatas [have created] an excellent scholarly and practical publication. It has a very detailed and interesting Preface and critical report, as well as a clear and thorough performance score, which is an excellent addition to the recorder repertoire."
     Oliver Smith, review in Recorder and Music Magazine 33, no. 2 (summer 2013): 60-61

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     James Paisible, Complete Suites for Alto Recorder and Basso Continuo

Never published before, not even in the Baroque period!

Buy the sonatas and the suites by Paisible togther as e-editions (standard version: score and parts) at a discount price of $25


Buy the sonatas and the suites by Paisible together as e-editions (alternative version: score and double part for recorder + bass instrument) at a discount price of $25


Praise:
“Sowohl bei den Suiten als auch den Sonaten von James Paisible handelt es sich um bisher weitgehend unbekannte kostbare Originalliteratur für die Blockflöte aus der Zeit um 1700.... Die hier neu edierten drei Sonaten sind genau diejenigen, die bislang noch in keiner modernen Edition greifbar sind. Die Suiten sind m. W. alle zum ersten Male neu erschienen.... Sämtliche Werke ähneln in ihrem englisch-französisch-italienischen Stil sehr anderer Blockflötenmusik aus derselben Zeit wie z.B. von Finger, D. Purcell oder C. Rosier. Die kontrapunktische Interaktion zwischen Ober- und Bassstimme ist mitunter recht ausgeprägt. David Lasocki steuert wie gewohnt hoch kompetente und äußerst informative Vorworte und kritische Berichte bei.... Der editorische Ansatz der Ausgaben von Instant Harmony, bislang weitgehend unbeachtete Originalmanuskripte in den verschiedensten Bibliotheken dieser Welt nach originalen Blockflötenwerken zu durchkämmeren, kann nicht genug gelobt werden – auch die wissenschaftliche Präsentation durch den Herausgeber ist durchaus beispielhaft.”
     [Both the Suites and Sonatas of James Paisible represent valuable original literature for recorder from around 1700 that was previously unknown to a great extent.... The three newly edited sonatas are precisely those that have not been available in a modern edition until now. The suites are, to my knowledge, all appearing for the first time.... All these works resemble, in their English-French-Italian style, very different recorder music from the same period such as, for example, by Finger, D. Purcell or C. Rosier. The contrapuntal interaction between upper and lower voices is sometimes extremely distinctive.... The editorial starting point of Instant Harmony’s editions – to comb the most varied music libraries of this world for original recorder works in original manuscripts generally ignored until now – cannot be praised enough. Also, the editor’s musicological work is exemplary....]
     Michael Schneider, review in Tibia 38, no. 4 (2013): 622-24.

"... [these] compositions [are] some of the finest examples of the English Baroque style, incorporating both French and Italian influence into a truly royal treat.... Priced at bargain prices well below the average cost of a standard print urtext, these editions' low prices prove a valuable asset to players.... The repertoire levels of these pieces also hold 'something for everyone.'... Paisible's sonatas ... demonstrate his proficiency as a recorder virtuoso.... ... the 16th-note passages are less demanding than in some sonatas, and the 'French' aspect of the music is 'lighter' than that of entry-level French Baroque pieces, making these sonatas excellent material for determined amateurs, students and seasoned pros alike.... All in all, these are brilliant obscure recorder repertoire gems waiting the next 'world premiere,' whether on the international/national stage or simply in a chapter concert -- highly recommended!"
     Kristina Powers, review in American Recorder 55, no. 3 (fall 2014): 41

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     Innocenzo Fede, Two Sonatas in D minor and G minor for Alto Recorder and Basso Continuo

Never published before, not even in the Baroque period!

Praise:
"... the dark and brooding nature of these sonatas ... is beautiful and mesmerizing to play and perform. Overall, David Lasocki's scholarly modern edition and Bernard Gordillo's basso continuo realization are excellent and well-researched. Lasocki has produced a very clean and unfussy musical score.... The Preface and critical report are also fascinating...."
     Oliver Smith, review in Recorder and Music Magazine 33, no. 2 (summer 2013): 61

“... besonders schöne Stücke handelt von einem fast völlig unbekannten Komponisten.... Absolut lohnende Literatur!”
     [... especially beautiful pieces from an almost completely unknown composer.... Absolutely rewarding literature!]
     Michael Schneider, review in Tibia 38, no. 4 (2013): 624.

"... [these] compositions [are] some of the finest examples of the English Baroque style, incorporating both French and Italian influence into a truly royal treat.... Priced at bargain prices well below the average cost of a standard print urtext, these editions' low prices prove a valuable asset to players.... The repertoire levels of these pieces also hold 'something for everyone.'... All in all, these are brilliant obscure recorder repertoire gems waiting the next 'world premiere,' whether on the international/national stage or simply in a chapter concert -- highly recommended!"
     Kristina Powers, review in American Recorder 55, no. 3 (fall 2014): 41

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Eight Sonatas by Carl Rosier (1640-1725) from the Babell Manuscript in the Sibley Music Library:

     Sonata in A minor (Babell ms., no. 4) for Alto Recorder and Basso Continuo

     Sonata in C minor (Babell ms., no. 7) for Alto Recorder and Basso Continuo; with some help from Henry Purcell

     Sonata in G minor (Babell ms., no. 11) for Alto Recorder and Basso Continuo

     Sonata in G major (Babell ms., no. 12) for Alto Recorder and Basso Continuo

     Sonata in A minor (Babell ms., no. 14) for Alto Recorder and Basso Continuo

     Sonata in G minor (Babell ms., no. 16) for Alto Recorder and Basso Continuo; with some help from Henry Purcell

     Sonata in D major (Babell ms., no. 19) for Alto Recorder and Basso Continuo

     Sonata in G minor (Babell ms., no. 21) for Alto Recorder and Basso Continuo

Praise:
“Die Musik von Carl Rosier ... erfreut sich nach einem längeren Dornröschenschlaf wieder steigender Beliebtheit.... Die Ausgaben sind sauber und gut lesbar ediert, mit informativen (englischem) Vorwort und einem knappen kritischen Bericht.....”
     [The music of Carl Rosier ... is again enjoying growing in popularity after a long Sleeping Beauty sleep.... The editions are cleanly and very readably edited, with infomative (English) preface and a concise critical report....]
     Peter Gnoss, review in Tibia 38, no. 2 (2013): 456-57.

Nos. 11 and 16 were recorded by Marianne Mezger with Trio Basiliensis on Concerning Babell & Son: Music Composed, Arranged and Transcribed by Charles and William Babell (Ars Musici AM 1167-2, cp1996).

Buy all eight sonatas by Carl Rosier as e-editions (standard version: score and parts) at a discount price of $48


Buy all eight sonatas by Carl Rosier as e-editions (alternative version: score and double part for recorder + bass instrument) at a discount price of $48


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     Mr. Carissimi, Sonata in D minor for Alto Recorder and Basso Continuo

     Pietro Antonio Fiocco, Sonata in C major for Alto Recorder and Basso Continuo

     Agostino Steffani, Sonata in D minor for Alto Recorder and Basso Continuo; with some help from Henry Purcell

     Pietro Torri, Sonata in C major for Alto Recorder and Basso Continuo

Four more sonatas from the Babell Manuscript in the Sibley Music Library, never published before!

Praise:
"All the sonatas are well presented, with a comprehensive Preface.... These are a fascinating set of sonatas that will be new to many readers. They are definitely worth investing in to boost your repertoire collection from the late 17th century."
     Laura Justice, review in The Recorder Magazine, 32, no. 4 (winter 2012): 143.

The sonatas by Fiocco and Steffani were recorded by Marianne Mezger with Trio Basiliensis on Concerning Babell & Son: Music Composed, Arranged and Transcribed by Charles and William Babell (Ars Musici AM 1167-2, cp1996).

Buy all four sonatas from the Babell manuscript as e-editions (standard version: score and parts) at a discount price of $25


Buy all four sonatas from the Babell manuscript as e-editions (alternative version: score and double part for recorder + bass instrument) at a discount price of $25



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Two Sonatas from the Detroit Recorder Manuscript, the second never published before:

     Arcangelo Corelli (attrib.), Sonata in D minor for Alto Recorder and Basso Continuo

Praise:
"There is an overall melancholic feel to the sonata in the four movements, with drooping appoggiaturas in the Adagio, leading to a fiery Allego. The third movement, Largo, is achingly beautiful, with long dissonant suspensions between the recorder and continuo parts, and some of the harmony is surprising and unpredictable. The work then concludes with a lively and slightly more joyful jig-like Allegro. Overall ... this is another excellent modern critical edition by David Lasocki, with a very successful basso continuo realization by Bernard Gordillo. This may or may not be a work by Corelli, but this does not matter, as it is a great sonata to play and perform, and works well on the recorder."
     Oliver Smith, review in The Recorder Magazine, 33, no. 1 (spring 2013): 17.

     Edward Finch, Cuckoo Sonata in C major for Alto Recorder and Basso Continuo

Praise:
"The Cuckoo Sonata is in five short movements, the first of which begins with the cuckoo motive, followed by fast fluttering passage work and arpeggios in the second movement. The third movement is a beautifully simple and song-like Largo with long, sustained suspensions and trills. The fourth movement starts with a jig feel and then melts into a short bridge of a Largo, leaing into the final galloping movement which ends the sonata in an exciting, jovial mood.... The preface is well-researched and any notes amended are well-documented.... The basso continuo [realization] by Bernard Gordillo is also excellent.... a superb critical edition of a very cheerful, quirky and fun English work for performance."
     Oliver Smith, review in The Recorder Magazine, 33, no. 1 (spring 2013): 17.

Buy both sonatas from the Detriot recorder as e-editions (standard version: score and parts) at a discount price of $17.50


Buy both sonatas from the Detroit recorder manuscript as e-editions (alternative version: score and double part for recorder + bass instrument) at a discount price of $17.50



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Not published in editions since the early eighteenth century:

     Johann Christian Schickhardt, Sonata in D minor, Op. 23, No. 4, for Alto Recorder and Basso Continuo

Praise:
"Is the acquisition of yet another Schickhardt recorder sonata worth our while? It is. The work is non-virtuosic, easily accessible to the intermediate recorder player. With a simple yet soulful Adagio, a sprightly Allemanda, a non-threatening Vivace, and a lively Giga, it is a little gem of a piece.... the realization [of the basso continuo] works perfectly."
     Martha Bixler, review in American Recorder 56, no. 4 (winter 2015): 36-37.

     William Babell, Concerto in C major, Op. 3, No. 2, for Soprano Recorder, Strings, and Basso Continuo

Praise:
"The opening Adagio and Allegro for violins and continuo recall Corelli's style, as does the final Allegro in 3/8 for the full ensemble. A central Adagio, featuring a flurry of birdlike ornamentation and extended unaccompanied cadenzas for the recorder, is the prize here, and worth the price of admission...."
     Gwyn Roberts, review in American Recorder 55, no. 3 (fall 2014): 43

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Three unique works by Leonardo Vinci (NOT Da Vinci!), a famous opera composer from Naples, never published before, not even in the eighteenth century:

     Concerto in A minor for Alto Recorder, Violins, and Basso Continuo

Our best seller:

     Sonata in A minor for Alto Recorder and Basso Continuo

Recorded by Anna Stegmann on Leonardo Vinci, Fileno: Soprano Cantatas, with Stile Galante (Pan Classics PC 10266, pc2012)

     Sonata in C minor for Alto Recorder and Basso Continuo


Buy all three Leonardo Vinci works as e-editions (sonatas in standard version: score and parts) at a discount price of $25


Buy all three Leonardo Vinci works as e-editions (sonatas in alternative version: score and parts for recorder + bass instrument) at a discount price of $25


Praise:
"Vinci's music is not often heard today, but, as Lasocki points out in his informative preface, the composer was one of the first to bring together the elements of the light, pleasing Galant style. In contrast to the music of the high Baroque, his melodies come in short phrases and are less dependent on the working out of long sequences. Harmonies change less frequently, but there is an abundance of graceful rhythmic activity....
     In line with Vinci's innovative character, all three pieces have unexpected features: the A-minor sonata is in five movements (slow-fast-slow-fast with an added Minuet); the C-minor sonata has an abundance of dramatic fermatas and is in something of an unusual key (moving to F minor in the third movement); and the string accompaniment for the concerto consists of two violins playing in unison throughout.
     Each piece, including the concerto, would be approachable by an upper intermediate player. A good rhythmic sense is needed (and a willingness to plunge into the flats of the C-minor sonata), but Vinci's style generally avoids virtuosic passagework, and his true metier as an opera composer comes through in a consistent singing quality, even in the faster movements.
     The music is available as a download, so the layout is spacious.... Bernard Gordillo's continuo realizations are straightforward and especially helpful, since the bass is generally unfigured.
     ... a welcome addition to the repertoire.... Players at all levels will enjoy exploring the somewhat unusual style of this well-crafted music."
     Scott Paterson, review in American Recorder 53, no. 1 (January 2012): 33.

"Die beiden Blockflötensonaten in a-Moll und c-Moll.... Die spieltechnischen Anforderungen sind eher bescheiden. U.a. wegen der gut liegenden Blockflötensonaten a-Moll und c-Moll klingen sie aber sehr reizvoll und absolut idiomatisch. Man merkt ihnen deutlich den Opernkomponisten als Autor an. Vor allem die langsamen Sätze sind wiederholt von rhetorischen Pausen durchsetzt. Das kurze a-Moll-Concerto pflegt einen ganz eigenen Stil... Fazit: absolut originelle Werke, die unsere Kenntnis des originalen Blockflötenrepertoires bereichern. Die Ausgaben sind mit kritischem Bericht inhaltlich bestens ausgestättet...."
     [The technical demands are rather modest.... the well-lying recorder sonatas in A minor and C minor sound very charming and absolutely idiomatic. We clearly observe the opera composer at work. Above all, the slow movements are replete with rhetorical fermatas. The short A-minor Concerto has its own style.... Result: absolutely original works, which enrich our knowledge of the original recorder repertoire. The editions are extremely well provided with critical reports....]
     Michael Schneider, review in Tibia 36, no. 4 (2011): 610-11.