Does anyone have any information on this piece? It's on the Grade 7 and 8 Trinity syllabus and is also my List A Grade 7 piece

Fraid not. Erm, you ain't thinking of writing programme notes on it, are you...?!

Nein!

Damn, oh well...I'll look around

Noooo...but it looks as if Dan Laurin and Michala Petri have both recorded it, if my Google search is right. (But it looks as if Dan Laurin's recording may be out of issue). I've not heard it, nor seen the music. Sorry not to be very helpful. It sounds as if Heberle might have been early 19th Century, which would be intriguing if true.

He was actually classical!

Actually Heberle invented the csakan (held like a recorder but with a series of metal keys and no double holes) after 1800. His early 19th century pieces and those of Kraehmer really give us the only "genuine" romantic repertoire for recorder as far as I know. My ex-teacher and mentor, Piers Adams, found a csakan in a junk shop and stuck it together with blu-tak and sellotape and still uses in in concerts today!

I'm afraid I don't know the piece IrishLoony is asking about but the pieces I HAVE played by Heberle are very early romantic in style and absolutely delightful to play.

I learnt the whole of it a while back. What do you want to know? I think I did the third movement for my grade 6 (Trinity). We put a lovely cadenza in at the pause before the last 10 bars. I have got a very bad recording of Michala Petri playing the first movement which was recorded off the radio - she plays it about twice as fast as any normal human being would even attempt - so don't be put off! It can sound just as musical played rather slower. The second movement goes very slowly (apart from the demisemiquavers!) and is beautiful.

Just want to know about the Tempo di Minuetto!

Although the notes are quite straightforward it was hard to keep it sounding interesting because of the repetition. Looking at what I wrote on the music, I started with a fairly strong lean on the first beat of each quaver bar, with a rit at the end of the first section. Trio 1 was played very legato, but breaking up the phrases. The next Menuetto started slowly and was played strongly, bringing out the fourth quaver in each bar as well as the first. Trio 2 meno mosso as it says, and rather gently. Next Menuetto strong and bright again. Piu mosso section very sweetly and beautifully, separating the crotchets a little. I converted the acciaccaturas into appogiaturas. As mentioned before we added a cadenza at the end of this section, finishing on top A. Last section with lots of energy and gathering speed. Staccato quavers, and in bar 127 a semiquaver scale up from bottom G to top F sharp instead of the two top Gs. There were a whole range of other ornaments throughout, different every time the theme recurs to add interest.
Is that the sort of reply you were hoping for? It's only one interpretation, though, so don't feel you have to take any notice!

Oh why thank you Alison I've not got the music to this but I'm doing it for my Grade 7, and I've only played it through roughly once, so y'know