QUOTE(anacrusis @ Apr 25 2006, 11:04 PM)
I've decided to go with what feel comfortable for me to try to learn. Yes, it might be unbalanced compared with the sort of programme a violinist could put together, but each of the pieces has a different aspect of recorder technique to display:
Cima Sonata Secunda, 1610 ish - tenor recorder, from that curious era at the beginning of the Baroque - rather canonic in style, very free, and sharp contrasts between long, off-the-beat minims and runs of quick semiquavers.
Jakob van Eyck "Phyllis Schoone Herderinne" 1625 ish- descant recorder, theme and divisions, with the most beastly alternated forked fingerings, and the last movement with the theme peeking out over florid decoration
Linde "Fantasien & Scherzi" - treble, flutter tonguing, glissandi,rapid tongued ornaments, awkward rhythms, phased vibrato......eeeeeuuurgh
then Corelli, opus V no 3, violin sonata, the major work from the list, 5 movements, lots of very Baroque ornamentation and nowhere at all to breathe in the fourth movement. Still a relief to the ear after the Linde.
Not balanced over eras, but I really really haven't enjoyed learning all the avant-garde stuff - lots of work to make a raucous noise - and the more cheerful modern music doesn't do it for me that much either. I'm going to have to sell the programme based on the technique thing!
I would do some Linde, just not anything like Music for a Bird!