Some light composers are specialists in the sense that they write for one particular instrument. An example is Brian Bonsor to whom recorder ensembles are very much in debt for the many arrangements he makes for them and the catchy dance movements he has composed: such things as Beguine Rumba Tango Hoe-Down and Fiesta. Rumba is exhilarating but demands precise rhythm and neat articulation.

Hans-Martin Linde (b. 1930) is not only one of the best-known recorder players of the twentieth Century but has enriched the contemporary recorder repertoire with significant works for concert performance and tuition purposes. The composition Reminiscences for Quartet for the unusual and delightful-sounding combination A[treble]/T/T/B uses musical themes from the 15th to 17th Centuries: from a 'Prélude l'imitation' by Froberger a melody by Claudio Saraceni 'Da te parto' themes from keyboard sonatas by Domenico Scarlatti the Chanson 'Adieu mes très belles' by Binchois and a ground bass from Purcell's harpsichord collection 'Musik's Handmaid'. The composer writes: 'Inmany of my compositions a meeting takes place between old and new. In this Suite too present events unfold against the background of the past. Models from early music are mirrored in the present.'

Beethoven’s famous theme from his Choral Symphony the Ninth is used in many modern hymnals with the hymn text Joyful Joyful We Adore Thee penned by Henry van Dyke (1852-1933). This version makes an ideal short concert item. Comes with full score and three of each part.