Yes, the latest aquisition in my discovery of the joy of recorders. It's a Yamaha 304 plastic and sounds lovely. Just used it at my first ever SRP meeting in the special event with Pamela Flanagan (going systematically from tenor, to treble, to descant (Cantus) for the final Gabrieli double choir piece.)

A few issues already. It's quite a stretch for the right hand, greater than any orchestral woodwind in fact, though it's manageable for short periods. Fingering wise, a few I use on descant and treble seem not so effective on tenor. Upper Bb for instance with the 12-/456 sounds very sharp. Also the trill fingerings for middle E-D and F-E don't really work either. Is it just breath pressure or are there better fingerings for tenor?

Finally what about some nice music for tenor. Sure descant pieces can be played on tenor such as Van Eyck, but that sounds better on descant somehow. Any ideas?

My older Dolmetsch tenor has a horribly sharp top Bb - I have to add 7 to get it into tune. My new one (boxwood Mollenhauer Denner) doesn't have this problem....but has swapped for it a sharp F# in the second octave, instead . That needs an extra half-hole . Which E-D trill do you use, as there are two I know?
Some van Eycks do work just as well or even better on the tenor; it's also worth looking at some baroque flute music, though you'll need to be careful that the high end isn't too demanding; I played a suite by Hotteterre on tenor rather than descant for grade 8, and it sounded much closer to a baroque flute than I would've thought possible.
I'm learning two modern pieces on tenor at the moment - one by Pete Rose, called "Medieval Nights", the other is Shinohara's "Fragmente" - both use extended techniques, which seem more effective in the lower registration.

Is the low Bb with 0234 fingering hugely sharp on yours? Its nearly a whole semitone out on mine

Have you tried playing it with thumb and then 134?

Yes, that one works, but it's sometimes useful to have the alternative.