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. 100 KB, Acrobat® Reader® reommended): Girolamo Catalogue April 2024
You will find our new editions 2018–2024 here.
New 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 partsNew in April 2020
Rainer Lischka: Circus in Town
Eight musical images for alto recorder solo
Circus air: Who hasn’t got a whiff of it yet? A special tension is almost tangible, the smell, the music and of course the artists – everything contributes to making a visit to the circus an unforgettable and very special experience. Rainer Lischka captures this atmosphere in his eight circus pictures and models them musically so vividly and stirringly that one can hardly escape such magic.
Students take great pleasure in practising these imaginative miniatures for alto recorder solo. The idea behind the movements is immediately apparent and many a challenge encourages practice. Some movements are easier, others technically more demanding, and playing techniques such as flutter tongue or glissando are rarely required. “Circus in town” is especially suitable for student auditions and competitions. Apart from that, for players and listeners the pieces are above all: fun!
G 21.008, playing scoreNew in September 2019
Pierre Danican Philidor: Two suites (op. 1/no. 2 and 4)
for 2 alto recorders and basso continuo
Pierre Danican Philidor, who was born in Paris in 1681 and died in Versailles in 1731, was a member of the wide-spread Danican family of musicians and composers. Probably originally from Scotland (Duncan), the family had been awarded the name of Philidor by Louis XIII in 1620. Subsequent generations were also closely associated with the French court, both as composers and notably as woodwind players, serving in renowned royal institutions such as the Grande Écurie, the Chapelle and the Chambre du Roi. Pierre, too, was in the royal service as flutist and oboist.
Suites 2 and 4 are from a collection comprising a total of six suites for two treble parts (dessus) and b.c. published in 1717, and were transposed up by a third in this new, practice-oriented edition. The sequence of the four movements in each of the suites is unusual and appealing, the 2nd suite, for example, starting with an Air en Fugue, followed by an Air en Suitte and a Rigodon, and ending in a charming, somewhat longer Passacaille. The 4th suite begins with a Symphonie, followed by a Bourée and a Muzette. It finishes with an elaborate fugue bearing the somewhat cryptic title Fugue Dacapella. A real treat for anyone who loves French music!
G 12.044, score and 3 parts
Johann Nicolaus Nicolai(?): Sonata F major
for 2 alto recorder and basso continuo
Johann Nicolaus Nicolai (died 1728) joined the court of Crown Prince Friedrich Ludwig von Württemberg-Stuttgart (1698–1731) between 1699 and 1704, having previously worked in Munich. Nicolai was a multi-talented instrumentalist, a proficient player of the recorder, the transverse flute and the oboe. He also served as a competent accompanist on both the harpsichord and the organ.
Although the Sonata in F major, published here for the first time, has come down to us without any indication of a composer, it can be assumed with virtual certainty to have been composed by Nicolai. This unusual sonata starts with a toccata-like, free Adagio, followed by a virtuoso Allegro, in which treble part and bass enter into a melodic dialogue as equal partners. The third movement is a Passacaglia, in which the recorder unfurls above a 7-bar(!) ostinato bass. The suite is completed by a delightful, short Minuet. Another really interesting and unusual find of original music for recorder, edited by Peter Thalheimer.
G 12.051, score and 2 partsNew in May 2019
Tommaso Albinoni: 12 Sonatas, Vol. III (Sonatas 9–12)
for 3 recorders (AAT), bass recorder ad lib. and b.c.
Vol. III of Albinoni's very popular sonatas is available now. Once again, it contains four wonderful sonatas. An original arrangement for three recorders and bass was made before 1740 and is the base of this edition, which was extended by the original continuo part with figures. Albinoni took these short dance movements and filled them with witty melodies and rich harmonic features. These sonatas offer a wide range of possible instrumentations for performance from quartet to recorder orchestra, with or without continuo instrument or continuo group.
G 12.050, score and 5 partsNew in February 2019
Bingham Reloaded!
George Bingham: English Airs
Volume I, for alto recorder solo (no. 1–20) / 2 alto recorders (no. 21–30) /
alto recorder and basso continuo (no. 31–50)
G 12.045, score and 1 partVolume II, for alto recorder and basso continuo /
alto recorders (no. 41 and 42)
G 12.046, score and 1 partVolume III, for alto recorder and basso continuo
Available since May 2018:
G 12.047, score and 1 partVolume IV, for alto recorder and basso continuo
G 12.048, score and 1 partBetween 1702 and 1705, George Bingham compiled four volumes of "Airs Anglois", which were published by Estienne Roger in Amsterdam. This collection of dance movements combined into suites, complemented by chaconnes, grounds and two sonatas, was a valuable source of original music for recorders for all recorder players at the time of its publication, and has remained so until the present day. The collection contains compositions by Bingham himself, Gottfried Finger, Henry Purcell, Jacques Paisible, William Williams and many more.
The volumes contain, for the major part, suite movements by English Masters for treble recorder and basso continuo, along with a number of solo pieces and duets for one or two treble recorders, as well as the famous Sonata in G major by Andrew Parcham.
Bingham’s "English Airs" are now available from Girolamo as a convenient complete edition, with easily playable realization of the figured bass. Some 200 typographic errors present in the source were eliminated.
The movements are suitable for moderately advanced students as well as more experienced amateur players and professional musicians, who will all enjoy and benefit from playing these compositions – whether at home in their music rooms or in recitals and concerts. Music teachers can use these compositions to methodically impart to their students the background knowledge required for a solid interpretation of baroque music. These four booklets are a must for your music cabinet!
