Robert Woodcock's Concerto nº2 in A Major is a standout piece from his collection "XII concertos in eight parts." This collection features various instrumentations, with the second set of three concertos, including this one, composed for violins and two small flutes. This concerto highlights Woodcock's skill in blending these instruments to create a rich and engaging musical experience. Historical Context and Instrumentation The collection "XII concertos in eight parts" by Robert Woodcock was designed to showcase different instrumentations. The first three concertos are for violins and one small flute, the next three for violins and two small flutes, the following three for violins and one German flute, and the final three for violins and one oboe (hoboy). The "small flute" referred to in this concerto is likely a recorder or transverse flute, providing a distinctive timbre that complements the violins. Musical Structure and Characteristics The concerto comprises three movements, each offering a unique emotional and technical challenge: Movement I: Allegro The first movement, Allegro, opens with a lively and spirited character, setting an energetic tone for the concerto. This movement features rapid, intricate passages that require agility and precision from the performers. The interplay between the violins and the small flutes is dynamic, with each instrument contributing to the overall rhythmic drive and melodic development. Woodcock's Concerto nº2 in A Major is a significant work within his repertoire, highlighting his ability to write engaging and technically challenging music for a variety of instruments. Movement II: Largo The second movement, Largo, provides a stark contrast to the lively Allegro that precedes it. This movement is characterized by its slow tempo and expressive depth, allowing the performers to showcase the lyrical qualities of their instruments. The Largo movement creates a contemplative and emotive atmosphere, drawing the listener into a world of introspection and beauty. The recorder's melody is rich and flowing, requiring the performer to exhibit a deep sense of musicality and expressive nuance. Movement III: Allegro The third and final movement, Allegro, brings the concerto to a spirited and triumphant close. This movement is characterized by its fast tempo, rhythmic vitality, and engaging melodic lines. The Allegro movement exemplifies Woodcock's ability to craft music that is both technically demanding and highly enjoyable to perform and listen to. The interplay between the violins and the small flutes is particularly dynamic, with the continuo providing a robust harmonic and rhythmic foundation. Importance for Recorder Practitioners Woodcock's Concerto nº2 in A Major is an essential piece for flute and recorder players, offering both musical beauty and pedagogical value. It is frequently studied and performed by players at various levels of proficiency, making it a staple in the Baroque repertoire. The concerto exemplifies Woodcock's versatility as a composer and his ability to create music that is both accessible and deeply expressive. To support the study of this concerto, high-quality play-alongs (backing tracks) in different tunings (440Hz and 415Hz), various tempos, and arrangements are available on the website www.therecordermaniac.com. Additionally, special study scores are provided to aid in practice and performance preparation. Woodcock's Concerto nº2 in A Major is a beloved work that encapsulates the elegance and expressiveness of Baroque music. Each movement offers a unique emotional and technical challenge, making it a cherished piece for performers and audiences alike. The lively and spirited Allegro movements frame the contemplative Largo, creating a balanced and engaging musical journey. Its enduring popularity among performers and audiences is a testament to Woodcock's genius and his lasting impact on the world of classical music.

Giuseppe Baldassare Sammartini was an Italian composer and oboist, and his Concerto in F Major is one of his most celebrated works for the recorder. This concerto showcases Sammartini's masterful ability to blend the virtuosic capabilities of the recorder with the rich textures of the orchestral accompaniment. The concerto is structured in the traditional three-movement form of the Baroque concerto grosso, highlighting both lyrical and technically demanding passages. Historical Context and Instrumentation The "flautino" referred to in this concerto is likely a soprano recorder in C. However, for performance purposes, the part is often transposed a fifth down, allowing it to be played on an alto recorder in F. This practice ensures the part fits comfortably within the recorder's range and maintains the integrity of the piece. Sammartini's innovative use of the recorder within the concerto format helped elevate the instrument's status and showcased its expressive potential. Musical Structure and Characteristics The concerto comprises three movements, each offering a unique emotional and technical challenge: Movement I: Allegro The first movement, Allegro, opens with a bright and lively character, setting an energetic tone for the concerto. This movement is marked by its fast tempo and rhythmic vitality, requiring agility and precision from the performer. The interplay between the recorder and the orchestral accompaniment is dynamic, with the recorder's virtuosic passages complemented by the orchestra's robust support. Sammartini's Concerto in F Major is a significant work within his repertoire and highlights his ability to write engaging and technically challenging music for the recorder. Movement II: Largo The second movement, Largo, provides a stark contrast to the lively Allegro that precedes it. This movement is characterized by its slow tempo and expressive depth, allowing the performer to showcase the lyrical qualities of the recorder. The Largo movement creates a contemplative and emotive atmosphere, drawing the listener into a world of introspection and beauty. The recorder's melody is rich and flowing, requiring the performer to exhibit a deep sense of musicality and expressive nuance. Movement III: Allegro The third and final movement, Allegro, brings the concerto to a spirited and triumphant close. This movement is characterized by its fast tempo, rhythmic vitality, and engaging melodic lines. The Allegro movement exemplifies Sammartini's ability to craft music that is both technically demanding and highly enjoyable to perform and listen to. The interplay between the recorder and the orchestral accompaniment is particularly dynamic, with the continuo providing a robust harmonic and rhythmic foundation. Importance for Recorder Practitioners Sammartini's Concerto in F Major is an essential piece for recorder players, offering both musical beauty and pedagogical value. It is frequently studied and performed by recorder players at various levels of proficiency, making it a staple in the recorder repertoire. The concerto exemplifies Sammartini's versatility as a composer and his ability to create music that is both accessible and deeply expressive. To support the study of this concerto, high-quality play-alongs (backing tracks) in different tunings (440Hz and 415Hz), various tempos, and arrangements are available here on the website www.therecordermaniac.com. Additionally, special study scores are provided to aid in practice and performance preparation. Sammartini's Concerto in F Major is a beloved work that encapsulates the elegance and expressiveness of Baroque music. Each movement offers a unique emotional and technical challenge, making it a cherished piece for performers and audiences alike. The lively and spirited Allegro movements frame the contemplative Largo, creating a balanced and engaging musical journey. Its enduring popularity among performers and audiences is a testament to Sammartini's genius and his lasting impact on the world of classical music.