I think (think being the operative word!) that I may have made a final choice on my repertoire for my DipABRSM, which I'm hoping to take in December. The pieces are as follows:

1. G. Sammartini: Sonata in G Major (Sibley No.24)
2. Van Eyck: O slaep, O zoete Slaep
3. Martin-Linde: Sonate in D

The last piece is where I'm having my doubts; I think it sticks out a little in terms of the programming? I was going to initially go for the Staeps instead as it seems to fit in with the other 2 pieces in the Programme, but I'm not sure now? I'm practicing both pieces until I make a decision, but I wanted your opinions on it so I can have a little help in making that decision!

Any advice greatly appreciated, particularly if it is something I can take away and think about...

I am unable to give any advice about your rep, but want to wish you lots of luck with it!

Keep in mind when picking your programme that they may ask about why you chose stuff in your viva...I would try to think "Can I justify/rationalise this choice?" if you think you are doing something a little out there. But you don't have to decide for ages...the choice might make itself for you (if that makes any sense...)

You should be showing variety in your programme, I think - and if the Linde sticks out, then at least it's being various! I've only heard a bit of the Sammartini, not the whole thing, and seem to remember it was fairly sweet, and is later baroque; the van Eyck is early baroque, and the other Linde pieces I've seen have been rather avant-garde, but I don't know the sonata you've got - that would certainly seem to fit the variety criterion. I found the Staeps pieces I've heard recently to be rather dull, but then I'm not a huge fan of nice-but-with-some-daring-harmony 20th century music, so take my judgment on that with a pinch of salt. We're over a barrel anyway with programme selection, thanks to composers and musicians forgetting about the recorder altogether for over a century - you've covered a good time and style range with that list. You've also got the pieces in a sensible order - I take it the Sammartini makes for a comfortable start to your performance, the van Eyck being very exposed, and the Linde for a lively conclusion? For my ATCL I needed four pieces to fill the time, and also put some Linde after my van Eyck - the high descant noise actually made a good preparation for the spiky sound of the Fantasien & Scherzi which followed it .

I really love the Sammartini... I knew as soon as I heard it I wanted to play it in my Diploma exam! It gave me goosepimples and is so exciting to play... I couldn't believe I hadn't played more of his repertoire before! I was looking at the Vivaldi and Bach before that and having a crisis about which one to use, as 'like, oh my gosh, how can I not have Bach in my programme???' But now I have based the rest of my programme around my Sammartini and I'm glad I have!

I like the Van Eyck too, although knowing what to do with it in terms of intonation and feeling is hard as I'm still really getting to know it. I'm still at the 'learning the notes' stage really to be honest with you, but I can see how wonderful it is and I want to do it justice eventually! The Linde, to be honest, I'm not too sure about... I have touched upon it but it is challenging for me really; I have played the Staeps before and thought it was lovely, but coming back to it years later I realised that I wanted to do something 'new' and more 'modern', I didn't want to go into the Diploma doing a piece I already knew for the sake of passing, I wanted to do something challenging, I have played some Linde before but not a lot and not extensively.

Anacrusis, you are absolutely spot on in the reasons I chose the programme I did! The Sammartini is perfect to start off with, and a solo descant recorder piece with the Van Eyck for the middle sounded like something I could use to 'show off' my solo skills! The Linde is something modern and lively to end with, as I thought if I chose the Staeps it would all sound a bit 'samey' and not very adventurous. So you are exactly right! I haven't timed it yet, not sure if I need to to be honest (?) but I'm sure it will all fit in!

I remember many years ago seeing Richard Harvey playing the Sammartini wonderfully. My then boyfriend was at school with Crispian Steele-Perkins, who was playing in the same concert, and we all ended up in the pub together afterwards.

I said something to Richard about how I loved his playing of the Sammartini, and he airily replied, 'Oh, I've just come back from Sweden and I learned it on the plane on the way home'.

AARGGHHHHH!!!!!!!!!!!!!

*wonders if he might book a flight at the same time as anacrusis' one to the US later in the year*

Oh my goodness dont know whats more shocking the speed of learing or the fact he played recorder - on a plane - with out getting murdered

Er - I don't think he actually played the recorder on the plane! Probably just looked at the score and memorised it - maybe with a bit of silent fingering practice!

Sickening, yes...*envy*