Music - New Music for Recorder


The ARS is pleased to offer downloadable contemporary music written specifically for recorder players. These are original works for recorder (and potentially other instruments), not arrangements or transcriptions of previous works. These composers’ submissions are available to logged-in ARS members by clicking on the provided links below. Non-members may view a preview and listen to a sound sample, if available. For information about joining ARS, click HERE. Please note that the ARS does not specifically endorse nor commission any of the works provided on this page. We hope you enjoy playing and sharing these pieces! Please observe any copyright limitations requested by the composer.

If you are a composer interested in sharing your music for recorder on this website, please click here.

NEWEST ADDITIONS (scroll to the bottom): Inventilation No. 2 by Gary Betts, completing the suite of three pieces. Also, more music by Anthony St. Pierre featuring duets for various combinations of recorders, as well as a solo for Alto. And, a brand new piece by Bradford Wright for SATgB recorders with Bongo Drum. Added October 18, 2018.

 

Sacramento Warm-up Fugue
by Glen Shannon, 2004

An easy 4-part fugue that I composed for the Sacramento Recorder Society when I was conducting them for the first time. It targets a slightly below the average ARS chapter's playing level but offers lots of interpretive and ornamentation possibilities.

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Warm-up Fugue

Bergamasca
by Victor Eijkhout, 2015

A trio for ATB loosely based on the Bergamasca ground bass.

Other compositions by Victor Eijkhout can be found at http://imslp.org/wiki/Category:Eijkhout,_Victor

You can support this composer through https://www.patreon.com/FluteCore

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Bergamasca

Times After Times
by Steven A. Jent, July 2016

Occasionally when I listen to unfamiliar music I'll hear a phrase and think I know what's coming next, and then I'm surprised when the composer does something different. Sometimes this prompts me to base a composition of my own on what I was expecting to hear but didn't. The first theme for this cheerful piece of swing was suggested by the brief ditty that plays when you complete a crossword puzzle on the New York Times website.

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Times After Times

Envelope
by Steven A. Jent, August 2016

An oddly melancholy piece for alto and tenor recorder.

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Envelope

145 Ways To Go
by Michael Shonle, Oct. 14, 2013

This piece is a simple solo featuring a repeating theme and a set of variations. Each pattern is 8 bars long, and show the many ways that the simple 1 bar sequence can lead to.

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145 Ways to Go

Autumn in the Air
by Marvin Levine (1928 - 2016)

This is a delightfully melancholy duet for two Altos that's full of imagery of the shortening days and cooling weather. Easily accessible to lower intermediate players and up.

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Autumn in the Air

Friends Long Gone
by Marvin Levine (1928 - 2016)

A quasi-Klezmer piece suitable for intermediate and up, this duet for two Altos or AT has rich wide intervals (C#-Bb) and multiple moods. Beautiful haunting melodies and equal distribution of material between the parts make this a piece to have a good cry over with a friend who's still with us.

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Friends Long Gone

Tango Para Mara
by Marvin Levine (1928 - 2016)

Written for his wife Mara, this duet for AT is suitable for upper intermediate players with fun syncopations and delicious tango feel.

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Tango Para Mara

Wild Man Rooney (at Six in the Morning)
by Bradford Wright, May 2017

Lively and jazzy, just like our cat Wild Man Rooney. Upper intermediate to advanced level.

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Wild Man Rooney

Ripples for Fipples
by Bradford Wright, April 2017

Relaxing and meditative - with a twist. Upper intermediate to advanced level.

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Ripples for Fipples

Adagio for Recorder Quartet
by Bradford Wright, January 2017

Technically easy with rich chords. Don't play the ornament at the end too fast.

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Adagio for Recorder Quartet

Fuga alla Tango
by Bradford Wright, November 2016

Quartet for Soprano (switches to Sopranino), Alto, Tenor, and Great bass. Individual parts are not too hard, but ensemble can be tricky during the really fun overlapping syncopations. Upper intermediate to advanced level.

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Fuga alla Tango

Fuga IX
by Bradford Wright, September 2016

A four-part SATB intermediate level fugue.

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Fuga IX

Fuga X
by Bradford Wright, September 2016

An SATB four-part fugue with a lot of chromatic 3 against 2 rhythm. Notes are not too hard, but keeping together is a challenge. Upper intermediate-advanced level.

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Fuga X

Fugue of the Birds
by Bradford Wright, August 2016

SnSAB fugue. Difficult but nice.

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Fugue of the Birds

Sonata 1
by Bradford Wright, March 2017

An alto duet in four movements. Advanced.

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Sonata No. 1

Copacetic Rag
by Bradford Wright, November 2016

A duet for Soprano and Bongo drum. You can download the Bongo track to play against. Intermediate level.

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Bongo Track MP3 file

Copacetic Rag

Duet for Alto Recorder and Harp
by Bradford Wright, April 2017

Duet for pedal harp and alto recorder. Intermediate level.

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Duet for Alto Recorder and Harp

Sassy Talk
by Bradford Wright, October 2014

Jazzy trio for alto recorder, piano, and cello. Upper intermediate level.

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Sassy Talk

Tango for Julie
by Bradford Wright, December 2014

Tango for alto recorder and piano. Advanced for recorder and piano.

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Tango for Julie

Hit and Miss Tango
by Bradford Wright, 2014

Imagine a tango with a metronome powered by a hit and miss engine. This is fun to play, but somewhat challenging - for both parts.

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Hit-and-Miss Tango

Duet in g minor
by Bradford Wright, 2014

An easy short canonical duet for two sopranos.

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Duet in g minor

Conversation #1
by David E. Kemp, 2017

This is an exploration of a fugue subject that I remembered from a waking dream. (No, I don't listen to the radio as an alarm.) The theme starts as a four voice canon and then develops in various ways until the final chorale.

Parts are available from www.recordermusic.us upon request.

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Conversation #1

Highland Concerto
by John Franek, completed January 2017

The Highland Concerto is a neo-baroque concerto grosso commissioned by the Highland Park Recorder Society for their "Hits and Highlights of 7 Centuries" concert, which celebrated the group's 30th anniversary. The piece was premiered on the 18th of March, 2017 in the United Methodist Church of New Brunswick, New Jersey.

Detailed throughout the progression of the piece is a dialogue between the harmonic worlds of the Baroque and Modern eras. These two worlds eventually form a cohesive whole in the final movement, finally resolving the intrinsic search for identity which follows the piece. The fourth movement also contains an extended harpsichord solo-cadenza, directly inspired by the iconic harpsichord solo in the first movement of Bach's Brandenburg Concerto No. 5. 


Preview I Prelude Sound Sample
II Allegro Sound Sample
III Adagio Sound Sample
IV Canon Sound Sample
V Allegro Sound Sample
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Download Conductor's Score
MP3 file

Highland Concerto

Roon's Tune
by Bradford Wright, 2017

A slow jazz piece for two altos, piano, and cello. The recorder parts are mostly in parallel, making it accessible for intermediate players. There are simultaneous end-stopped notes in the recorder parts toward the end (you may need to look up the fingerings), which add some dramatic effect.

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Roon's Tune

Three Ayres
by Ray Braswell, 2016

Three original motets for recorder quartet.

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Three Ayres

Fugue on an Old Moo Call
by Gary Meyer, April 2018

This is an ancient call to bring the cows out of the field heard on the internet. (Song of Nature Jona Jinton). I found the challenge to write this as a fugue. I wrote this in Finale as a flute and string quartet.

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Fugue on an Old Moo Call

Duet for Recorder and Piano
by Bradford Wright, 2018

This is a true duet between piano and recorder. While it contains a D.S. al coda, the pianist may wish to reprint these pages to avoid the backward page turn.

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Duet

Sonata for Recorder and Piano
by Bradford Wright, 2017

A duet for alto recorder and piano that is fun to play, and easier than it looks.

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Sonata for Recorder and Piano

Tango on a Ground
by Bradford Wright, 2017

As the name suggests, this is a tango with a ground. The instrumentation is two alto recorders, piano, and long-suffering cello. It is easy to play. Some say it has a Theremin-like quality to it. My guess is that you will love it or hate it. This is a companion piece to Roon's Tune.

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Tango on a Ground

Tune for Jessica
by Bradford Wright, 2018

A lively jazzy tune for soprano and alto recorders, cello, and piano. It is a companion piece to Roon's Tune and Tango on a Ground.

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Tune for Jessica

Cool Cat Rooney
by Bradford Wright, 2018

Another in the series of jazzy new music for two recorders, piano, and cello. Intermediate level. Rooney the cat personally supervised the composition. The rolled chords at the end on the mp3 are too fast, but it was the best that I could get.

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Cool Cat Rooney

Swing Lower, Sweet Chariot
by Bradford Wright, 2018

This is a jazzy take on the spiritual Swing Low Sweet Chariot. I originally wrote this piece for men's choir (freely available on request) with some added text. I discovered that it also works very well with low recorder choir, and could be useful as a prelude in church. Playing level is intermediate, but it takes some practice to polish the transitions.

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Swing Lower, Sweet Chariot

Syncopated Melody
by Bradford Wright, 2018

Like it says. Originally written for 3 bassoons (freely available on request), but works well on recorder, too. Advanced level due to 5/4 time signature and tempo.

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Syncopated Melody

Tipsy Turvy
by Gary Betts, June 2018

A composition for SI, S, A, T, B/CB recorders. Medium Easy (a few double sharps). Keys of A and Bb Major.

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Tipsy Turvey

Plain and Fancy
by Gary Betts, July 2018

This is a whimsical piece in rondo form for SATB recorders. The "Plain", or "A" section is a straight forward hymn-like tune, which alternates with the "Fancy", or "B" and "C" sections, which occur when the players have ingested the schnapps in their pie. Players are encouraged to adopt appropriate postures and slight upper body movements where appropriate.

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Plain and Fancy

La Grenouille Bondissante (Rondeau)
by Gary Betts, June 2018

This is a take on the 18th century rondeau form and style. Keep strict rhythms. Inegale eighth notes are all written out, as some eighth note figures are inegale, and some not, but not adhering strictly to the 18th century French inegale rules. It is important that regular rhythms are not altered to attempt matching the inegale rhythms in another part (i.e. in a dotted quarter-eighth note figure, play the eighth note exactly on the "and" of the second beat of the figure. Do not delay and shorten it to match an inegale figure occurring simultaneously in another part). The fermata and cut before the last rondeau section is optional. If the piece needs to be abridged, the first ending and repeat of the initial rondeau section may be omitted. Note tempo changes at the last couplet and final rondeau.

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La Grenouille Bondissante

Tsakonikos
by Gary Betts, 2017

This is an SATB recorder composition in a Greek long-long-short-short meter (5/4).

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Tsakonikos

Jamboree
by Bruce Sankey, 2013

This lively piece is intended to capture the spirit of exuberance exhibited by a crowd of young folk (or older folk) participating in some outdoor activity. The rhythm is repeated and momentum maintained all the way through.

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Jamboree

Inventilation No. 3
by Gary Betts, September 2018

This is a through-composed pieced in a rather free modal style.

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Inventilation No. 3

"La Folia" Fantasy Variations
by Anthony St. Pierre, May 2018

Anthony St. Pierre (b. Schenectady NY, 1956) has composed well over a dozen Folia variation sets for diverse media, including sets for 1, 2, 3, & 4 recorders, and one for alto recorder & piano. This set of four variations for a solo sopranino may be played to good effect on the alto as well. It qualifies as a "fantasy" because there is no bar-for-bar or beat-for-beat correspondence between the theme and each variation. In this way, it differs from most other Folia variations. It is suitable for a fairly accomplished player. Duration: 5'30"  Performed by Anthony St. Pierre, sopranino

St. Pierre earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His Folia 4 took 3rd place in the ARS Chicago Chapter's composition competition in 2007. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.

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La Folia Fantasy Variations

La Folia à 2
by Anthony St. Pierre, May 2018

Anthony St. Pierre has composed Folia variations for many media, including for 1,2,3,&4 recorders, as well as alto recorder & piano. The nine variations in this set for alto and tenor recorders are in a modern idiom, but traditional forms (Gavotte, Chaconne, Fugato) are featured. The piece requires moderately advanced technical skill. Duration: 11'20" Performed by Scott Paterson, alto; Anthony St. Pierre, tenor

St. Pierre earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His Folia 4 took 3rd place in the ARS Chicago Chapter's composition competition in 2007. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.

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La Folia a 2

The Mosquito's Courtship
by Anthony St. Pierre, July 2005

The Dance of the Mosquitos of Heitor Villa-Lobos inspired this frenetic duet for sopranino recorders.

At tempo, this piece is best suited to advanced players. The stem barring in bb.52-3 indicates flutter tonguing. Duration: 1:10  Performed by Scott Paterson and Anthony St. Pierre, sopraninos

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra (Toronto) in the 1980s, but has since focussed on composition. His Folia for 4 (SATB) took 3rd place in the ARS Chicago Chapter's composition competition in 2007. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.

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The Mosquito's Courtship

Around on a Ground for Alto and Bass Recorder
by Anthony St. Pierre, March 2009

In composing for recorders, Anthony St. Pierre has frequently taken inspiration from Henry Purcell. In Around on a Ground, he cyclically applies modal alterations to each iteration of the ground from the so-called Bell Anthem, Rejoice in the Lord Alway, of Purcell. The ground passes alternately from the alto to the bass recorder.

Players of intermediate ability will find approachable challenges in this duet. Duration: 1:45  Performed by Scott Paterson, alto; and Anthony St. Pierre, bass

St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra (Toronto) in the 1980s, but has since focused on composition. His Folia for 4 (SATB) took 3rd place in the ARS Chicago Chapter's composition competition in 2007. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.

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Around on a Ground

Glass Menagerie for Sopranino, Soprano, Alto, and Bass Recorders
by Anthony St. Pierre, August 2010

An essay in minimalism, Glass Menagerie is a perpetuum mobile employing a motif with shifting agogic stress at superposed quarter, eighth, and sixteenth note levels of diminution/augmentation.

The piece is technically undemanding, but the sopranino does have a moment in its extreme high register. Duration: 3:00 Performed by Takayo Shimoda, sopranino; Tatsuki Shimoda, soprano; Anthony St. Pierre, alto; Scott Paterson, bass

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra (Toronto) in the 1980s, but has since focussed on composition. His Folia for 4 (SATB) took 3rd place in the ARS Chicago Chapter's composition competition in 2007. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.

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Glass Menagerie

Canonic Chaos on Old 100th for Alto, Tenor, Bass, and Great Bass Recorders
by Anthony St. Pierre, January 2009

Based on the Louis Bourgeois tune for the 100th Psalm (Praise God from Whom All Blessings Flow, or All People that on Earth do Dwell ) of 1551, this quartet is, like the Glass Menagerie quartet, which Anthony St. Pierre has also made available through the ARS, a perpetuum mobile featuring modally altered canonic treatment of the tune superimposed on the unaltered form of itself.

The piece poses no notable technical challenges, but phrases are long and in places, unrelenting. Duration: 1:45  Performed by Janos Ungvary, alto; Anne Massicotte, tenor; Anthony St. Pierre, bass; Scott Paterson, great bass

St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra (Toronto) in the 1980s, but has since focused on composition. His Folia for 4 (SATB) took 3rd place in the ARS Chicago Chapter's composition competition in 2007. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.

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Canonic Chaos on Old 100th

Pholia for Alto Recorder and Piano
by Anthony St. Pierre, May 2006

The famous Folia of Corelli was the inspiration for Pholia* for alto recorder and piano. The intent was to provide a modern alternative to the Corelli, which, although composed for the violin, has long been a staple of the recorder repertoire. (The edition for recorder appeared just two years after the original violin version.)

Although not as lengthy (duration: 8:40), the Pholia offers a wider variety of keys, modes, harmonies, textures, and meters than the Corelli. The piano is not subordinate to the recorder in the Pholia; it participates equally in each variation.  Performed by Anthony St. Pierre, alto; Larry Green, piano

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra (Toronto) in the 1980s, but has since focussed on composition. His Folia for 4 (SATB) took 3rd place in the ARS Chicago Chapter's composition competition in 2007. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.

* So spelled to distinguish from other Folias

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Pholia for alto recorder and piano

Windows for Alto and Bass Recorder
by Anthony St. Pierre, August 2009

The inspiration for this duet was the shutdown motif (doh’-sol-doh-re) of the Windows operating system I was using at the time of composition. I combine it contrapuntally in various ways with its inversion. Technical demands are moderate. Duration: 2:00.

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra (Toronto) in the 1980s, but has since focussed on composition. His Folia for 4 (SATB) took 3rd place in the ARS Chicago Chapter's composition competition in 2007. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.

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Windows

Song of a Siren for Alto Recorder and Piano
by Anthony St. Pierre, 2009

The siren motif from the third of Debussy’s Nocturnes inspired this piece for alto recorder and piano. The harmonic idiom, however, recalls that of Messiaen. (The YouTube recording of the work bears its original title, Mouvement Messiaenique.) Duration: 3:30 Performed by Anthony St. Pierre, alto and piano

Both the recorder and piano parts are quite accessible to players of intermediate skill, but strong dynamic contrasts are necessary to bring the music to life. For ease of movement between the low g-sharp and f-sharp at the end of the piece, half hole with the pinky for both notes, relaxing the ring finger as much as possible; do not allow it to bear down. A little of the skin’s own natural oil on the tip of this finger will help ease the glide from half to full hole. As well, a slight separation of the two pitches will permit clean movement from one to the other.

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focussed on composition. His Folia à 4 took 3rd place in the ARS Chicago Chapter's composition competition in 2007. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.

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Song of a Siren

La Folia à 4 (SATB)
by Anthony St. Pierre, July 2007

Anthony St. Pierre (b. Schenectady NY, 1956) has composed well over a dozen Folia variation sets for diverse media, including sets for 1, 2, 3, & 4 recorders, and one for alto recorder and piano. La Folia for 4 (SATB) took 3rd place in the ARS Chicago Chapter's composition competition in 2007. It presents nine variations in contrasting but complementary styles. It is suitable for a fairly accomplished players. Duration: 7:30  Performed by Anthony St. Pierre, soprano; Scott Paterson, alto; Tatsuki Shimoda, tenor; Takayo Shimoda, bass

St. Pierre earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focussed on composition. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.

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La Folia a 4

Sonata da chiesa for Two Soprano Recorders and Continuo
by Anthony St. Pierre, September 2007

The triosonata, the sonata for two treble instruments and a bass, was one of the most popular forms of instrumental chamber music of the baroque and the Italian violinist, Archangelo Corelli, a universally renowned and influential composer in this genre. He composed two varieties of triosonata: the largely terpsichorian sonata da camera, and the sonata da chiesa or church sonata, founded on the organ idiom of the 17th century.

The present triosonata is of this second variety. The harmonic idiom, perhaps evoking Stravinsky in places, is thoroughly modern, but the overall all form and the melodic style remain very "Corellian" hence the subtitle, The Modern Corelli. (An earlier subtitle, appearing on the SoundCloud recording, was Il Aggiornamento, meaning an "updating" or "renovation.") The piece is light-hearted parody.

Players of intermediate skill will be comfortable with the technical demands. Ideally, the two soprano recorders will be accompanied on the organ (8-ft. flute stop) Alternatively, the harpsichord is acceptable. The bass part (cello) is optional.

Duration: 7:00  Performed by Scott Paterson and Anthony St. Pierre, sopranos; and Anthony St. Pierre, organ

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His Folia à 4 took 3rd place in the ARS Chicago Chapter's composition competition in 2007. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.

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Sonata da chiesa

A Thom Tallis Fancy for Alto (Sopranino) and Tenor Recorders
by Anthony St. Pierre, June 2006

A review appears in the Spring 2015 issue of the AR (p. 39).

In the first of the three sections, the alto takes the Tallis tune, which most audiences know from the famous Vaughan Williams Fantasy on a Theme by Thomas Tallis. The tenor presents the tune in the middle section. In the final section, the alto takes up the sopranino (optionally) and the two voices deliver the tune imitatively.

Players of intermediate ability will encounter few technical difficulties in this piece. Duration: 3:40 Performed by Anthony St. Pierre, alto, sopranino; Scott Paterson, tenor

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His Folia à 4 took 3rd place in the ARS Chicago Chapter's composition competition in 2007. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.  

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A Thom Tallis Fancy

Inventilation #1
by Gary Betts, September 2018

This is the first movement of a three-movement work for SATB recorders, intermediate level.  

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Inventilation No 1

Fantasy on 'Schenectady' for SATB recorders
by Anthony St. Pierre, December 2010

The Fantasy on 'Schenectady' might recall the Americana style of composers like Aaron Copland or Virgil Thompson. In 1801, Nehemiah Shumway of Schenectady, New York published a shape-note fuguing tune that he named 'Schenectady.' It is in the primitive style best known in the work of William Billings.

Possibly the greatest challenge in this quartet is achieving pure tuning in the bare octaves and fifths, as well as in the parallel octave passages. Triple-barred note stems indicate flutter tonguing. Tricky entries for the tenor are eased with cues above the staff. Duration: 6:20  Performed by Scott Paterson, soprano;  Anthony St. Pierre, alto;  Anne Massicotte, tenor;  Janos Ungvary, bass

Anthony St. Pierre (b. 1956), himself a native of Schenectady, earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra (Toronto) in the 1980s, but has since focused on composition. His Folia for 4 (SATB) took 3rd place in the ARS Chicago Chapter's composition competition in 2007. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.  

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Fantasy on Schenectady

Menuet Pastoral (SATB)
by Anthony St. Pierre, March 2008

The sustained low F in the bass lends a pastoral quality to this minuet & trio. The style might be described as 20th-century English. Despite chromatic notes, the moderate tempo makes this brief piece (3:45) quite accessible to intermediate players.

Performing on the ARS website recording: Takayo Shimoda(S); Anthony St. Pierre (A); Janos Ungvary(T); Scott Paterson(B)

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra (Toronto) in the 1980s, but has since focused on composition. His Folia for 4 (SATB) took 3rd place in the ARS Chicago Chapter's composition competition in 2007. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.  

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Menuet Pastoral

Pentatonic Fughetta (SSA)
by Anthony St. Pierre, April 2005

Although brief (1:30), this fughetta on a pentatonic subject covers a variety of transpositions and is appears in inversion and augmentation. Statements in Db bear some examination before a play-through, but at the suggested tempo, the piece, not withstanding these passages, is feasible for players of intermediate skill.

On the ARS website recording, the performers are: Scott Paterson and Anthony St. Pierre, sopranos; Janos Ungvary, alto.

St. Pierre earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focussed on composition. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.  

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Pentatonic Fughetta

Wombats' Waltz  (ATB)
by Anthony St. Pierre, December 2005

The title is just an alliterative gimmick — wombats do not waltz! This name however seems to have piqued the curiosity of many YouTube viewers who were perhaps expecting to see some sort of wombat ritual. The piece is a five-part rondo and presents no particular technical difficulties. Duration: 2:15

On the ARS website and YouTube recording, the performers are: Janos Ungvary, alto; Anthony St. Pierre, tenor; Scott Paterson, bass

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His Folia à 4 took 3rd place in the ARS Chicago Chapter's composition competition in 2007. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.  

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Wombats' Waltz

Marche Malo (SAT)
by Anthony St. Pierre, December 2005

This march in ABA form has nothing to do with Malo. It is merely a fanciful, alliterative title. It may recall the style of Kabelevsky’s Opus 27 piano pieces for children. The piece will prove quite straight-forward for an ensemble at the intermediate level. Duration: 1:45

The performers on the accompanying recording are Scott Paterson, soprano; Anthony St. Pierre, alto; Janos Ungvary, tenor.

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra (Toronto) in the 1980s, but has since focused on composition. His Folia for 4 (SATB) took 3rd place in the ARS Chicago Chapter's composition competition in 2007. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.  

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Marche Malo

Missa 'Cum Jubilo' Fantasia (AATB)
by Anthony St. Pierre, June 2007

A frequent source of inspiration for this composer is the repertoire he learned as a choirboy. The Gregorian Missa cum jubilo was the genesis for his highly morphed version of this mass setting, from which he has treated the Kyrie, Sanctus & Benedictus, and Agnus Dei. Passages in octaves will require careful attention to tuning and there are some tricky syncopations, but overall an ensemble of moderate skill will find this piece approachable. The last movement (Agnus Dei) may be played on the great bass, in which case, a low D is preferred in the final bar. Duration: 4:00

In the accompanying recording the performers are: Scott Paterson & Anthony St. Pierre, altos; Anne Massicotte, tenor; Takayo Shimoda, bass.

Anthony St. Pierre (b. Schenectady NY, 1956) was a choirboy a St. George’s Episcopal Church, Schenectady, where he first contemplated becoming a composer. Later, he earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His Folia à 4 took 3rd place in the ARS Chicago Chapter's composition competition in 2007. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.  

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Missa Cum Jubilo Fantasia

L'Intersidéral (sTT)
by Anthony St. Pierre, April 2008

A flying saucer (2 tenors) lands on Earth, a space alien (sopranino) emerges, looks around, offers a few remarks, but quickly departs.

The piece should be performed in a very lively acoustic. Portions marked "lointain" ("distant") should be played from, or near, off stage if possible. A bold wavy line indicates a slow, heavy vibrato, a lighter one, a faster, less intense vibrato. Slide fingers off tone holes to achieve the glissandi. Duration: 1:30

The accompanying multitrack recording features the composer playing sopranino and tenor II, with Scott Paterson, tenor I.

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focussed on composition. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.  

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L'Intersideral

Shepherds' Gigue (SA)
by Anthony St. Pierre, December 2005

Composed for a Christmas celebration, this lively, highly syncopated gigue featuring the interval of a fourth throughout suggests the joy of the "shepherds abiding in the field." Suited for fairly advanced players, the piece is but a minute long.

Performing on the accompanying recording are Scott Paterson, soprano; and Anthony St. Pierre, alto

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra (Toronto) in the 1980s, but has since focused on composition. His Folia for 4 (SATB) took 3rd place in the ARS Chicago Chapter's composition competition in 2007. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.  

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Shepherds' Gigue

Fanfare à 3 (SSA)
by Anthony St. Pierre, August 2009

One can easily imagine this fanfare in ABA form played on trumpets, as the three high recorders have a similar brilliance. Features include quartal harmonies, parallel triads, and hemiola. Although lively, its technical demands are well within the command of intermediate players. Duration: 2:15

Performing on the accompanying recording are the composer, with colleagues, Takayo Shimoda, and Scott Paterson.

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.  

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Fanfare a 3

Berceuse Basse ([T]B/B/B/gtB)
by Anthony St. Pierre, February 2014

This gentle five-part rondo is a lullaby that in places, may recall the harmonies of Stravinsky. If preferred, Bass I may be played on the tenor from the transcription included with the parts. The piece poses little technical difficulty for players of intermediate skill. Duration: 2:15

Playing on the accompanying recording are the composer, Bass I; Anne Massicotte, Bass II; Janos Ungvary, Bass III; Scott Paterson, Great Bass

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.  

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Berceuse Basse

Tre Bicinia per bassi (B/gtB)
by Anthony St. Pierre, February 2014

Entrée develops a three-note motif and its inversion. Pas de douze is a lilting twelve-tone (chromatic) serial essay; the tone row is bracketed at the beginning. Exploiting the mournful timbre of the low recorders, Cantillation is a lament in which the two instruments take the melodic role by turns. It may recall the Armenian-inspired melodies of Alan Hovhaness. The wavy line in b.23 indicates heavy vibrato. Players of upper intermediate skill will find these duos within reach. Total duration: 5:10

The composer plays the bass and Scott Paterson the great bass on the accompanying recordings.

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.  

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Sound Sample - Pas de douze
Sound Sample - Cantillation
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Tre Bicinia per bassi

Pavane & Galliard (ATT)
by Anthony St. Pierre, December 2005

This piece fuses the form and style of the well-known Renaissance dance pair, the Pavane & Galliard (Peacock Strut & Hen Hop) with harmonies that may be likened to those of Milhaud. A trio of intermediate skill will find this score feasible. Duration: 2:15

Janos Ungvary (alto), Scott Paterson (tenor I), and the composer (tenor II) perform on the accompanying recording.

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.  

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Pavane & Galliard

Variation on Handel's 'Pifa' (SSTT)
by Anthony St. Pierre, November 2005

How nice it would have been had Handel included recorders in the Pifa (Pastoral) of Messiah! This variation is a colorful morph in which strains of the original are still much in evidence. An intermediate group may undertake it with confidence. Duration: 3:30

The quartet on accompanying recording is: the composer (S1), Takayo Shimoda (S2), Scott Paterson (T1), & Janos Ungvary (T2).

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.  

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Variation on Handel's Pifa

Phrygian Impromptu (unaccompanied S or T)
by Anthony St. Pierre, August 2005

This brief (approx. one minute) piece features conjoined phrase halves that are rhythmic mirror images of each other. (i.e. duple eights, triplet eights, sixteenths, then the reverse). Each phrase is on the phrygian scale a fifth higher than the previous until the midpoint, where the sequence of transpositions is reversed (i.e. c, g, d, a, then the reverse) before a codetta. The performer should play very freely, as if improvising. The score appears here for C recorders, but it may be transposed for F instruments if desired.

The composer plays on the accompanying recording.

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.  

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Phrygian Impromptu

Lament (SATB)
by Anthony St. Pierre, March 2011

This mournful piece in ABA form was inspired by the work of Alan Hovhaness and composed in observance of Hovhaness' 100th birthday. (Cantillation, the third of three duets for bass and great bass recorders by St. Pierre, also reflects Hovhaness' style and is available on the ARS website.)

Finger vibrato is indicated by wavy lines. Glissandi are executed by sliding fingers on and off the tone holes. The piece is recommended for performers of advanced skill. Duration: 3:00

The quartet playing on the accompanying recording is: Takayo Shimoda (S); Tatsuki Shimoda (A); Anthony St. Pierre (T); Scott Paterson (B)

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.  

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Lament

Inventilation No. 2
by Gary Betts, October 2018

This is the second of three movements. It is meant to be plaintive in character. Fully sustain all notes for their entire value.

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Inventilation No. 2

Canon @ Quinta (SA)
by Anthony St. Pierre, February 2008

This canon at the fifth features contrasting sections that are variants of the first. Chromatic passages present some challenges. Duration: 2:00

The accompanying recording features Scott Paterson (S), and the composer (A).

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog. 

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Canon at Quinta

Canon @ Nona (ST)
by Anthony St. Pierre, September 2007

This brief canon at the ninth (approx. 1:30) in ABA form features a largely quartal tune in the A sections that contrasts with a primarily scalar B section. Players of upper intermediate skill will find it approachable.

Players on the accompanying recording are the composer (S) and Scott Paterson (T).

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog. 

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Canon at Nona

Etude (SS)
by Anthony St. Pierre, February 2008

Etude is a 12-note serial piece in ABA form founded on the Circle of Fifths. It is more a study ("etude") in compositional technique than in instrumental skill development. Apart from some rhythmic complexities, it poses few technical challenges that a player at the upper intermediate level could not match. Duration: 2:20

The composer and Scott Paterson perform on the accompanying recording.

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog. 

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Etude

Vocalise à 2 (TT)
by Anthony St. Pierre, February 2006

This largely pentatonic duo in which parallel fifths are prominent recalls the pastoral idiom of Vaughan Williams. The triple beams over halfnotes indicate a rapid trill or tremolo. There are some rapid, breezy passages to negotiate, but the absence of chromatic notes there facilitate their execution.
Duration: 2:30

Playing on the accompanying recording are Scott Paterson and the composer.

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog. 

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Vocalise a 2

Implosions (Sopranino/Alto)
by Anthony St. Pierre, May 2008

Because of its structure (P5up, P4down, M3up, M2down, m2up), the six-note theme and its inversion, which generate a series of variations, seems to implode on itself. Rhythms are tricky in spots and light double tonguing is called for. Duration: 2:10

Scott Paterson (sopranino) and the composer (alto) perform on the accompanying recording.

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog. 

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Implosions

Mayday! (2 Sopranini)
by Anthony St. Pierre, September 2006

This frenetic duet in 7/8 is founded on ten iterations of the Morse Code for the "Mayday" distress signal (from French "Venez m'aidez," "Come Help Me.") The odd meter, brisk tempo, preponderant dissonances, and the shrillness of the sopranino recorders impart urgency and distress. There are no significant technical complications. The coda (ad infin.) maybe be played over as desired, gradually fading away, perhaps as performers recede from the performance space. Duration: 1:00 Players are encouraged to investigate another of the composer's Morse-based works, S-O-S (SATB), in the Members' Edition Library.

Scott Paterson and the composer play on the accompanying recording.

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His S-O-S quartet and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog. 

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Mayday

Lydian Impromptu (A)
by Anthony St. Pierre, February 2008

Like the Phrygian Impromptu, also available on the ARS website, the Lydian Impromptu uses mirror image rhythmic melodic construction (i.e. the rhythm of the first half of the tune reverses itself in the second half). Except for a brief passage in Db (Lydian scale), there are no particular technical complications. Duration: 1:45

The composer performs on the recording offered here. The recorder is a Zen-on alto after Bressan.

Anthony St. Pierre (b. Schenectady NY, 1956) earned a B.Mus. in composition from the Ohio State University and a M.Mus. in historical performance practices from Washington University. He played the oboe with the Tafelmusik Baroque Orchestra in the 1980s, but has since focused on composition. His S-O-S quartet (SATB) and Mere Bagatelle IV (AAA) appear in the ARS Members' Library catalog.

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Lydian Impromptu

Fuga alla moda
by Bradford Wright, October 2018

This is a jazzy fugue for soprano, alto, tenor, and great bass recorders with bongo drums accompaniment. I have not run across anything like it in the recorder repertoire. It has a lot of accidentals, but is not particularly hard. A courtesy part for great bass in treble clef is included. There is also a performance suggestion that some groups may be able to use or adapt.  

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Fuga alla moda