for 5 instruments/voices (SSATB) or choir & b. c., BuxWV 114, edited by Leonore and Günter von Zadow, preface by Gunther Morche. On examination this "Lutheran short mass" displays its rather instrumental than vocal concept and therefore it offers a wide range of performance opportunities. Choral scores are also available (G137). Edition Güntersberg

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edited by Leonore and Günter von Zadow. The 42 Fantasias were considered as the first important polyphonic pieces for pure instrumental consort in France. They are known for Gamba consort, but they are also suitable for wind instruments particularly for broken consort. Edition Güntersberg

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six Consort-suites for 2 oboes, bassoon, strings & b. c. (Stuttgart 1700), edited as Urtext-edition by Michael Robertson. During his time as "Württembergischer Hofkapellmeister" in Stuttgart Cousser published three important collections of French dance music in the style of Lully. Series Collegium Musicum - Kölner Reihe Alter Musik

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for the death of Earl of Devonshire (1606) for 3 voices [SAB] (or instrumens: violin/oboe, alto recorder/viola/cor anglais, violoncello/bassoon), viola da gamba & lute (or harpsichord/guitar), edited by Vince Kelly. Facsimile and New Edition, parts on CD-Rom. It’s suitable for both: instrumental or vocal ensembles.CCBN Publications

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Teaching material for experimentation in lessons, ensemble, and private study for all instruments, including play-along CDs (in 415 and 440 Hz). At long last, a method for improvisation in Renaissance and Baroque music that is recommended by leading musicians and teachers, including Michael Schneider and Maurice van Lishout. The book provides an excellent overview - and vividly conveys the paths to "freer" music making - that is helpful not only for specialists, but also for amateurs. German, 148 pages

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Suite No. 1 in C major & Suite No. 2 in A minor (Durata: 27’) eight (orchestra) suites, FWV 1-8, for Dessus (1. violin/oboe/flute), Hautecontre (2. violin/oboe), Taille (1. viola/gamba), Quinte (2. viola/gamba), Basse (gamba/violoncello/bassoon) & b. c., edited by Hans Peter Eisenmann. Suites No. 1 and 8 have got 2 trumpets ad lib. One of the best German suits with a French influence. Chamber orchestras should order the set: 3-3-3-3-2, harpsichord.

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Suite No. 3 in B major & Suite No. 4 in D minor (Durata: 24’) eight (orchestra) suites, FWV 1-8, for Dessus (1. violin/oboe/flute), Hautecontre (2. violin/oboe), Taille (1. viola/gamba), Quinte (2. viola/gamba), Basse (gamba/violoncello/bassoon) & b. c., edited by Hans Peter Eisenmann. Suites No. 1 and 8 have got 2 trumpets ad lib. One of the best German suits with a French influence. Chamber orchestras should order the set: 3-3-3-3-2, harpsichord.

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Suite No. 5 in G major & Suite No. 6 in F major (Durata: 24’) eight (orchestra) suites, FWV 1-8, for Dessus (1. violin/oboe/flute), Hautecontre (2. violin/oboe), Taille (1. viola/gamba), Quinte (2. viola/gamba), Basse (gamba/violoncello/bassoon) & b. c., edited by Hans Peter Eisenmann. One of the best German suits with a French influence. Chamber orchestras should order the set: 3-3-3-3-2, harpsichord.

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Suite No. 7 in G dorian & Suite No. 8 in C major (Durata: 29’) eight (orchestra) suites, FWV 1-8, for Dessus (1. violin/oboe/flute), Hautecontre (2. violin/oboe), Taille (1. viola/gamba), Quinte (2. viola/gamba), Basse (gamba/violoncello/bassoon) & b. c., edited by Hans Peter Eisenmann. Suites No. 1 and 8 have got 2 trumpets ad lib. One of the best German suits with a French influence. Chamber orchestras should order the set: 3-3-3-3-2, harpsichord.

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wind quintet for flute, oboe, clarinet, bassoon & horn (Durata: 13’). This colourful quintet was composed in 1961 and it’s suited to be a good piece for chamber music education at universities and music academies. Zoltán Gárdonyi is one of the most important students of Paul Hindemith and Zoltán Kodály.

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