Welcome to Girolamo Publishers
In our collection you will find music for voice, recorder, recorder orchestra, transverse flute and percussion. Many of our editions contain well-known or lesser-known music from the Baroque period, but you will also find contemporary compositions, as well as arrangements of jazz and folk music.
Please feel free to browse through our editions, which are classified by series, composer or number, and read the prefaces. Click on the cover for more detailed information on the selected edition.
You can download our current English catalogue as a PDF file (approx. 150 KB, Acrobat® Reader® reommended): Girolamo Catalogue March 2025
You will find our new editions 2021–2025 here.
New in March 2025
Three old Tangos and three Milongas
for soprano or tenor recorder (flute, oboe, violin) and piano
The Argentinian Manuel Molina y Vedia has arranged six pieces from his homeland from the 1920s and 1930s for recorder in c (or another melodic instrument) and piano. These pieces are not yet characterised by the heaviness, melancholy and sadness of the later tangos; instead, they are cheerful, dance-like and full of energy. This is particularly true of the three milongas. You can hear the rhythmic and melodic mixture of African and European culture, here and there the piano accompaniment is reminiscent of ragtime and the melodies are also varied and surprising. Both performers emphasise the joy of playing.
G 21.011, score and 1 part
Sylvia Corinna Rosin: In Beauty
for recorder orchestra (S solo A A T B Sb Gb) and low drum (ad lib.)
This piece was inspired by a poem by the North American Navajo natives about inner and outer beauty and by the landscape of prairie, savannah and mountains. You hear pulsating basses and above them some memorable short motifs, then the main melody over a two-dimensional accompaniment, interrupted by triadic breaks, especially in the solo part. There is a mysterious, noisy section in the centre and the path leads back to the opening motif. This impressive piece unfolds its effect and, with its certain archaism, is perfectly suitable for recorder orchestra.
In Beauty means living in harmony with nature and in accordance with the cosmic plan.
G 22.003, score and 8 parts
Nicola Matteis: For the Flute
for alto or tenor recorder (violin),
an additional melodic instrument (ad lib.) and basso continuo
Nicola Matteis came from the Naples area and went to England around 1674, where he became famous, respected and prosperous as a violinist and composer. He published his charming compositions for the violin in four volumes between 1676 and 1684. They contain preludes, various dances, fantasies and divisions for violin and b.c. Matteis only had a second part for these books printed years after the first publication. The 3rd and 4th volumes contain a total of five pieces which are expressly intended "For the Flute" – i.e. "for recorder" – in the title. Our edition contains these five extremely attractive movements together with the second part for the first time. It can be played by tenor recorder, violin or oboe.
G 12.053, score and 3 parts
Georg Friedrich Händel: Fitzwilliam Sonata G major (HWV 358)
Original version and transposition variant in F major
for alto recorder and basso continuo
Handel's "Fitzwilliam Sonata" in G major, sketched in Italy around 1707, has puzzled musicologists as to its possible scoring. Handel placed four notes in the French treble clef at the end of the third movement and notated them extremely high, whereby they do not fit melodically with the thorough-bass. Klaus Hofmann has solved the riddle, which was probably a joke on Handel's part. The upper part now has a melodically plausible progression and the sonata corresponds to the range of the alto recorder. With this edition, the sonata is now available for the first time in Handel's actually intended version. It can be performed just as well on an alto recorder in G as on an alto recorder in F. The original version and the transposition variant in F major leave all possibilities open to the player. Detailed information can be found in Klaus Hofmann's article (in German) published in "TIBIA: Portal für Holzbläser": https://www.moeck.com/de/tibia/tibia-online/artikel.html?article=2531
G 12.055, score and 2 parts
Giovanni Battista Draghi: The soft complaining flute
Aria from the ode to St Cecilia's day "From Harmony", London 1687
for alto voice, 2 alto recorders and basso continuo
Giovanni Battista Draghi (around 1640–1708) was one of the Italian musicians brought to England by King Charles II in 1662/63 to establish an English opera tradition. He worked with Matthew Locke from 1673 and became his successor as organist to the Queen at Somerset House in 1677. The aria published here for the first time comes from Draghi's Ode to St Cecilia's day entitled "From Harmony", which was first performed in London in 1687. The aria "The soft complaining flute" is based on a typical English ground, a five-bar bass theme that is repeated eleven times and transposed in the middle section. Two further songs with ground bass can be found in the works of John Weldon. The instrumentation with alto recorders and alto voice is much rarer than that with soprano voice. This edition is a real enrichment of the repertoire. The piece shines with extremely interesting harmonisation and an exuberant wealth of ideas.
G 11.018, score and 4 partsNew in April 2024
Rainer Lischka: Schritt und Tritt
Eleven duets for soprano and alto recorder
In his eleven duets, Rainer Lischka presents – musically and humorously – different ways of “Moving the feet”. In these pieces, we hear ourselves walking, strolling, dallying about, creeping, jumping, striding, scampering and trampling; we go up and down stairs, float across the dance floor and finally even encounter Charlie Chaplin with his very characteristic way of walking.
The level of difficulty varies from piece to piece, but by and large, all the duets can be tackled by slightly advanced players who have mastered a chromatic octave plus a sixth. With only one exception, higher notes were deliberately not used.
As always, pieces by Rainer Lischka are also valuable from an educational point of view. However, the most important factors are the enjoyment of music in general coupled with the fun of interpreting a variety of ways of moving the feet.
G 12.054, playing scoreNew in October 2023
Thomas Augustine Arne: The woodlark whistles
Pietro Filippo Scarlatti: Pianga pure al duol
Two Arias for soprano (tenor) voice, sopranino recorder,
2 violins (violin, viola) and b.c.
Thomas Augustine Arne’s aria “The woodlark whistles” from the opera “Eliza”, which premiered in 1754, is already composed in the galant style. The expression is cheerful, imaginative and playful. Pietro Filippo Scarlatti is one of Alessandro Scarlatti's sons and was trained as a musician by his father. The aria “Pianga pure al duol” from the cantata “Humanità e Lucifero”, written in 1704, with its transparent orchestral writing, is, on the other hand, still entirely in the baroque style. The character is predominantly dark, the theme of pain is central and the harmonies wander into more distant regions.
Both arias have in common the very similar scoring with high vocal part, sopranino recorder or flageolet, a small string instrumentation and b.c.
This first edition shows another facet of vocal music with obbligato recorder and is a worthwhile task for already existing or yet to be founded ensembles.
G 11.017, score and 5 partsNew in May 2023
La Cucaracha / Un poquito cantas
for recorder quartet or recorder orchestra (SATB)
Latin American joie de vivre is transformed into pure playing enjoyment. Georg Fischer’s arrangements of the two popular Spanish-language songs are technically not really challenging and can easily be mastered by players of intermediate skill, who may perhaps have to work on the rhythmic details. Some little and some big surprises make these arrangements very special – or have you ever seen a cockroach dance in a minor key? No more will yet be revealed …
G 21.010, score and 4 partsNew in October 2022
Francesco Turini: Gagliarda e Sonata
for 2 violins (recorders in C), bass instrument (ad lib.) and b.c.
In my opinion, Francesco Turini (approx. 1589-1656) is one of the outstanding composers of the early Baroque period. He is still relatively unknown today, which is primarily due to the fact that his work consisted mainly of secular and sacred vocal music. Of Turini’s purely instrumental music, only six chamber music works and one organ piece have survived. The chamber music is part of a book of madrigals printed in Venice in 1621 and 1624.
While four of these pieces were published by Girolamo many years ago as G 12.017 (Sinfonia and Sonata a Doi) and G 12.019 (Due Sonate a Tre: E tanto tempo hormai/Il Corisino), the remaining pieces have now been published in the new edition G 12.025, which means that Turini's complete chamber music is now available. The cheerful Gagliarda is interesting in its repeated alternation between 6/4 and 3/2 time. The Sonata a Tre – Secondo Tuono (Phrygian mode) consists of several parts and thrives on expressive motives and counterpoint. When considering potential performances, it is perhaps of benefit to know that the existing bass part is not absolutely necessary. Even though the two upper parts in the original edition are specifically for violins, it is possible to play them on 2 recorders in c without any amendments.
These magnificently composed and deeply moving works are well worth studying.
G 12.025, score and 3 parts
Narcisse Bousquet: Air Varié sur Malborough
for recorder in F and piano
Joseph Narcisse Bousquet (1820–1869) was described as “the best flageolet player in Paris”. However, he was famous not only as a brilliant virtuoso on his instrument, but also as a prolific composer of dance music, conductor, hard-working publisher and sought-after teacher. For himself and his instrument, the French flageolet, he wrote a large number of pieces that were published by his own publishing house. In 1860 he published the Air Varié sur Malborough, which ends with a long coda, following the introduction, theme and three variations. The theme is the old folk song “Malbrough s'en va-t-en guerre”, popular in France since the late 18th century.
There are some virtuoso sections and ad lib passages for the recorder, but the part is very well suited to the instrument and can be mastered with not too much practice. The piano part is easier. Romantic original music for recorder? Yes, it does exist, and Bousquet's “Air Varié” introduces an exciting diversity into the repertoire.
G 12.052, score and 1 partNew in September 2021
Francesco Barsanti: Old Scots Tunes
for violin (recorder in c, flute, oboe) and b.c.
Francesco Maria Barsanti was born in 1690 in Lucca. In 1724 he moved to England, living first in London and from 1735–1743 in Edinburgh, where his Old Scots Tunes were published in 1742. He later moved back to London where he died in 1775. Barsanti was highly esteemed as a composer, instrumental teacher, instrumentalist and copyist.
The special charm of the Old Scots Tunes in Barsanti’s version lies in the contrast between the original Scottish song melodies and the artful basso continuo added by Barsanti, which is contrapuntal in part, but always feels very natural. Each of the 30 pieces contained in this work is a jewel in itself and well worth extra study. Each song leaves room for the player’s own ideas in the form of an introduction, improvisations and interludes.
The new edition by Girolamo takes into account the findings gained from the latest research on this composer. It is distinguished by excellently readable notation, a separate playing score for melody instrument and bass – which considerably facilitates making music together compared to playing from individual parts – as well as a professional but easily playable basso continuo realisation. Without a doubt: charming music that will enchant an audience.
G 21.009, score and 2 playing scoresNew in January 2021
John Weldon: Two Songs upon a Ground
Peace, babbling Muse! / In vain we say
for soprano voice, 2 alto recorders and b.c.
John Weldon (1676–1736) studied from 1693 with Henry Purcell and was appointed organist of New College in Oxford in 1694. In 1700, Weldon won first prize in a composition competition for the best setting of the masque "The Judgement of Paris" and surpassed his rivals Daniel Purcell, Gottfried Finger and John Eccles. In 1708, Weldon succeeded John Blow as organist of the Chapel Royal; in 1714, he was appointed organist of St. Martin-in-the-Fields.
Both songs "Peace, babbling Muse!" and "In vain we say" are traditional English grounds with an underlying melody in the bass, which recurs several times and in different registers. Both pieces are composed of various sections and are very different in structure. The unusual, almost philosophical texts are set to a beautiful, heartrending melody that does honour to the lyrics and is on a par with the works of Weldon's teacher Henry Purcell.
G 11.016, score and 4 parts
