Compositions and Arrangements for Accordion Orchestra

Latest change, Februari 19, 2024: Added a new arrangement, for accordion quintet, of the Balletmusik nr. 2 from Rosamunde by Franz Schubert. Also added a recording by Professor P.
Before that: Added a new arrangement, for accordion quintet, of the famous Ave Maria" by Caccini, but actually composed by Vladimir Vavilov. Also added a recording by Professor P.
Before that: Added new arrangements, one for accordion quintet and one for sextet, of Myrna by Roberto Di Marino. Also added a (sextet) recording by Professor P.
Before that: Added a new arrangment, for accordion orchestra (with timpani), of Symphony nr. 1, mov. 2 and 3 by Sergey Prokofiev. Also added a recording of mov. 2 and mov. 3 by Professor P.

Important notice regarding copyrighted material: Most but not all of my arrangements are in the public domain in all countries. If you find that an arrangement you want to look at is not in the public domain in your country you must ensure that you obtain a license from the rights holder in order to perform the composition in public. Studying a composition may fall under fair use for educational purposes but a performance does not! The rules vary from country to country. If you are not sure whether your use of one of my arrangements (of music still under copyright) is permitted, do not download, study and/or perform it in public.
All recordings believed to be in the public domain are served from this server. For recordings of still copyrighted material there are links to YouTube. (The public domain recordings are also on YouTube, but if you don't want to be inundated by YouTube's advertisements it's better to just download them from this server.)

List of arrangements most of which are available for download:

The list is sorted alphabetically by composer.

  1. Valse from the ballet Giselle, Act. 1, A. Adam
  2. Concerto a Cinque, op. 9 nr. 2, T. Albinoni
  3. Concerto a Cinque, op. 7 nr. 3, T. Albinoni
  4. Blue Tango, L. Anderson
  5. Forgotten Dreams, L. Anderson
  6. Il Postino, L. Bacalov
  7. Am Abend aber desselbigen Sabbats. J.S. Bach
  8. Bist du bei mir, J.S. Bach / G.H. Stölzel, BWV 508
  9. Brandenburg Concerto nr. 2 mov. 3, J.S. Bach
  10. Brandenburg Concerto nr. 3, J.S. Bach
  11. Brandenburg Concerto nr. 5 mov. 3, J.S. Bach
  12. Brandenburg Concerto nr. 6 mov. 3, J.S. Bach
  13. Adagio from Prelude, Adagio and Fugue for organ, J.S. Bach, BWV 564
  14. Wachet auf, ruft uns die Stimme, J.S. Bach, BWV 645
  15. Duo-Concerto in D Minor, part 1, J.S. Bach, BWV 1043
  16. Duo-Concerto in D Minor, part 2, J.S. Bach, BWV 1043
  17. Erbarme Dich, from the Mattheus Passion, J.S. Bach, BWV 244
  18. Concerto for Oboe d'amore, J.S. Bach, BWV 1055R, first movement
  19. Polonaise from BWV 1067, J.S. Bach
  20. Menuet and Badinerie from BWV 1067, J.S. Bach
  21. Orchestral Suite nr. 3, J.S. Bach, BWV 1068
  22. Air from the Suite for Orchestra, J.S. Bach, BWV 1068
  23. Gavotte from the Suite for Orchestra, J.S. Bach, BWV 1068
  24. Harpsichord Concerto No.5 in F minor, Arioso (Largo), J.S. Bach, BWV 1056
  25. Partita 2 (Sinfonia) BWV 826, J.S. Bach
  26. Sheep May Safely Graze, BWV 208, J.S. Bach
  27. Violin Concerto (BWV 1041 and 1058), first movement, J.S. Bach
  28. Violin Concerto (BWV 1042 and 1054), first movement, J.S. Bach
  29. Violin Concerto (BWV 1042), third movement, J.S. Bach
  30. Concerto for Oboe and Violin (BWV 1060R), J.S. Bach
  31. Jesus bleibet meine Freude (BWV 147), J.S. Bach
  32. Sei Lob und Preis mit Ehren (BWV 167), J.S. Bach
  33. Wir Eilen mit schwachen, doch emsigen Schritten (BWV 78), J.S. Bach
  34. Adagio for Strings, S. Barber
  35. Hirtengesang, L.v. Beethoven
  36. Minuet in G, L.v. Beethoven
  37. Romance nr. 2, L.v. Beethoven
  38. Casta Diva from the opera Norma, V. Bellini
  39. Un Bal, H. Berlioz
  40. Waltz, from Divertimento for Orchestra, L. Bernstein
  41. Entr'Acte from Carmen, G. Bizet
  42. Minuet, G.275, L. Boccherini
  43. Prière à Notre Dame (Gothic Suite), L. Boëllmann
  44. Toccata (Gothic Suite), L. Boëllmann
  45. Black Orpheus, L. Bonfá
  46. Notturno from the Second String Quartet, A. Borodin
  47. Polovetsian Dances (1, 2), A. Borodin
  48. Sugar (De Fabriek), R. Bos
  49. Ave Cello, P. De Bra, J.S. Bach and Ch. Gounod
  50. Rockalise, P. De Bra and S. Rachmaninoff
  51. Irish Medley, Traditionals / P. De Bra
  52. Symphony nr. 3 opus 90, third movement, J. Brahms
  53. Waltz opus 39 nr. 15, J. Brahms
  54. Violin Concerto nr. 1, mov. 2: Adagio, M. Bruch
  55. Concert Variations on The Star-Spangled Banner, D. Buck
  56. Tangled Up, G. Chambers, V. Degiorgio, D. Schreurs
  57. Introduction from Concerto for Oboe and Strings, D. Cimarosa
  58. Gigue from Suite for strings, A. Corelli
  59. Golliwogg's Cake-Walk, C. Debussy
  60. Clair de Lune, C. Debussy
  61. Petite Suite: Ballet, C,. Debussy
  62. Valse from Coppelia, L. Delibes
  63. Flower Duet, opera Lakmé, L. Delibes
  64. Karmen Collage, Y. Derbenko
  65. Serenade nr. 1, F. Drdla
  66. Humoresque nr. 7 (opus 101), A. Dvorak
  67. Waltz from Serenade (opus 22), A. Dvorak
  68. Slavonic Dance opus 72 nr. 2, A. Dvorak
  69. Enigma Variations: Nimrod, E. Elgar
  70. Salut d'amour, E. Elgar
  71. Scherzo Vivace, Nonetto opus 38, mov. 3, L. Farrenc
  72. Trumpet Concerto in D, J.F. Fasch
  73. Pavane opus 50, G. Fauré
  74. Panis Angelicus, C. Franck
  75. Spleen, R. Galliano
  76. Tango pour Claude, R. Galliano
  77. Tanzende Finger, H. Gerlach
  78. The Man I Love, G. Gershwin
  79. Adagio by Albinoni, R. Giazotto
  80. Concerto Grosso Opus 3, nr. 3: Allegro. F. Geminiani / A. Corelli
  81. String Quartet 5(3), Ph. Glass
  82. Ruslan and Lyudmila (Ouverture), M. Glinka
  83. Orphée et Eurydice: Dance of the Blessed Spirits, Ch. W. Gluck.
  84. Berceuse, Jocelyn Suite 2, mov. 2, B. Godard
  85. Ecce Homo Qui Est Faba, H. Goodall
  86. Holberg Suite (1,2,5), E. Grieg
  87. Solvejgs Song, E. Grieg
  88. Elegische Melodien: Våren, E. Grieg
  89. Wedding day in Troldhaugen, E. Grieg
  90. The Music for the Royal Fireworks, G.F. Handel
  91. Ouverture of Rinaldo, G.F. Handel
  92. Aria "Lascia ch'io Pianga, from Rinaldo", HWV 7, G.F. Handel
  93. Sarabande, from Harpsichord Suite HWV 437, G.F. Handel
  94. The Arrival of the Queen of Sheba, G.F. Handel
  95. Largo from Xerxes, G.F. Handel
  96. Concerto Grosso op. 6 nr. 12 (3), G.F. Handel
  97. The Water Music, G.F. Handel
  98. String Quartet op. 76 nr 2, 2nd movement, J. Haydn
  99. Trumpet Concerto in Es, 2nd movement, J. Haydn
  100. Symphony nr. 7, mov. 5: Finale, J. Haydn
  101. Symphony nr. 49, mov. 3: Menuet and Trio, J. Haydn
  102. Symphony no. 83 (La Poule), mov. 4, J. Haydn
  103. Symphony no. 84, mov. 3, J. Haydn
  104. Symphony no. 85, mov. 2, J. Haydn
  105. Symphony no. 101, mov. 2, J. Haydn
  106. Symphony no. 104, mov. 3, J. Haydn
  107. Happy Birthday Variations by Peter Heidrich.
  108. Очи Чёрные (Schwarze Augen / Dark Eyes), music F. Hermann
  109. Romance from Concerto for two clarinets, F.A. Hoffmeister
  110. Serenade from String Quartet in F major, R. Hoffstetter
  111. Saint-Paul's Suite, G. Holst
  112. Waltz from Masquerade, A. Khachaturian
  113. La Précieuse, F. Kreisler
  114. Liebesfreud, F. Kreisler
  115. Liebesleid, F. Kreisler
  116. Schön Rosmarin, F. Kreisler
  117. La Vie en Rose, Louiguy/E. Piaf
  118. Olé Guapa, A. Malando
  119. Oboe Concerto (2), A. Marcello
  120. Myrna, R. Di Marino
  121. Cent Mille Chansons, E. Marnay & M. Magne
  122. España Cañí, P. Marquina
  123. Plaisir d' Amour, J.P.E. Martini
  124. Intermezzo from Cavalleria Rusticana, P. Mascagni
  125. Meditation (from Thaïs), J. Massenet
  126. Auf Flügeln des Gesanges, F. Menselssohn
  127. Chanson de Printemps (from Lieder ohne Worte), F. Mendelssohn
  128. Violin Concerto opus 64 (2), F. Mendelssohn
  129. Czardas, V. Monti
  130. Gabriel's Oboe, E. Morricone
  131. Haffner Serenade, W.A. Mozart
  132. Piano Concerto nr. 21 (2), W.A. Mozart
  133. Symphony nr 25 (kv183), W.A. Mozart
  134. Violin Concerto nr. 1, mov. 1 (kv 207), W.A. Mozart
  135. Rondo Concertant (kv269), W.A. Mozart
  136. Horn Concerto nr. 2, mov. 3: Rondo (kv 417), W.A. Mozart
  137. Horn Concerto nr. 4, mov. 3: Rondo (kv 495), W.A. Mozart
  138. Eine Kleine Nachtmusik (kv 525). W.A. Mozart
  139. Violin Concerto nr. 4, mov. 3: Rondeau (kv 218), W.A. Mozart
  140. Adagio from Clarinet Concerto (kv622), W.A. Mozart
  141. Concert Samba, Borys Myronchuk
  142. Love Waltz, Ulrik Neumann
  143. Dank sei dir Herr, Siegfried Ochs
  144. Introspection II, Rogier van Otterloo
  145. Rondo, Rogier van Otterloo
  146. Turks Fruit (Turkish Delight), Rogier van Otterloo
  147. Kanon, Johann Pachelbel
  148. Menuet in GIgnacy Jan Paderewski
  149. Se tu m'ami, Alessandro Parisotti
  150. Stabat Mater, Giovanni Battista Pergolesi
  151. Parisian Waltz, Yuri Peshkov
  152. Adios Nonino, Astor Piazzolla
  153. Chiquilin de Bachin, Astor Piazzolla
  154. Libertango, Astor Piazzolla
  155. Milonga del Angel, Astor Piazzolla
  156. Primavera Portena, Astor Piazzolla
  157. La Gioconda, Danza delle ore (Dance of the hours), Amilcare Ponchielli
  158. Les Biches (mov. 4: Andantino), Francis Poulenc
  159. Symphony nr. 1, mov. 2 and 3, S. Prokofiev
  160. Rondeau from the Abdelazer Suite, H. Purcell
  161. The Fairy Queen: Chaconne, H. Purcell
  162. Pavane Pour Une Infante Défunte, Maurice Ravel
  163. Antiche Danze ed Arie, Suite II, nr. 4: Bergamasca, Ottorino Respighi
  164. Antiche Danze ed Arie, Suite III, nr. 1: Italiana, Ottorino Respighi
  165. Concierto de Aranjuez, J. Rodrigo
  166. La Danza, Gioachino Rossini / Ottorino Respighi
  167. Sonata for Strings, nr. 1, mov. 3, G. Rossini
  168. Melody in F, A. Rubinstein
  169. Concerto pour une voix, Saint-Preux
  170. Divertissement, Saint-Preux
  171. Danse Macabre, C. Saint-Saëns
  172. Le Cygne (The Swan), from Carnaval des Animaux, C. Saint-Saëns
  173. Concerto a 9 in G minor, mov. 1, J.C. Schickhardt
  174. Ave Maria, F. Schubert
  175. Quintet "Trout" (mov. 4), F. Schubert
  176. Rosamunde: Balletmusik nr. 2, F. Schubert
  177. Scharzo, from String Quartet no. 14, F. Schubert
  178. Ständchen (from Schwanengesang), F. Schubert
  179. Trämerei (from Kinderszenen), R. Schumann
  180. Romance (from The Gadfly), D. Shostakovich
  181. Andante Festivo, J. Sibelius
  182. Arietta, A. Skulte
  183. (Trumpet) Voluntary opus 6 nr. 5, J. Stanley
  184. Die Fledermaus (Ouverture), J. Strauss (jr.)
  185. Suite de Pulcinella, Sinfonia (Ouverture), I. Stravinsky
  186. Concerto in D-dur, mov. 3, G.H. Stölzel
  187. Waltz (from the Snowstorm Suite), G. Sviridov
  188. Seagate Overture, J. Swearingen
  189. Andante Cantabile, String Quartet opus 11, mov. 2, Pyotr Tchaikovsky
  190. Swan Lake (mini-suite), Pyotr Tchaikovsky
  191. Nocturne Opus 19 nr. 4, Pyotr Tchaikovsky
  192. Valse from Serenade for String Orchestra, Pyotr Tchaikovsky
  193. Waltz from Sleeping Beauty, Pyotr Tchaikovsky, opus 66a
  194. Sonata for two chalumeaux TWV 43:F2: Vivace, G. Ph. Telemann
  195. Viola Concerto TWV51:G9, 4rd movement (presto), G.Ph. Telemann
  196. Concerto for Flute, Violin and Cello, TWV53:A2, mov. 1, G.Ph.Telemann
  197. Bluesette, J. (Toots) Thielemans
  198. Old Friend, J. (Toots) Thielemans
  199. Ave Maria "by Caccini", V. Vavilov
  200. Fantasia on Greensleeves, R.V. Williams
  201. Violin Concerto RV 335(3), A. Vivaldi
  202. Concerto RV 440(1), A. Vivaldi
  203. Concerto RV 522(1), A. Vivaldi
  204. Largo from Lute Concerto RV 93(2), A. Vivaldi
  205. Le Quattro Stagioni: La Primavera, A. Vivaldi
  206. Le Quattro Stagioni: Autunno, A. Vivaldi
  207. Toccata (Symphony nr. 5, opus 42 nr 1), C. Widor
  208. Schindler's List, J. Williams
  209. Kiss the Rain, Yiruma

I arrange music for different accordion orchestras and make sheet music of arrangements freely available for download (as pdf) as a service to the accordion community. Occasionally I also compose something myself, mostly inspired by some "old masters". Many of my arrangements were initially created for Avanti, a small accordion orchestra in Antwerp (Belgium) I have led for about 30 years and that has (unfortunately) stopped its activities in 2014. Some arrangements are for larger orchestra and were made for Accordeana in Helmond or for the Nederlands Symfonisch Accordeon Orkest. Some of the arrangements for quintet have been made for ARTE, an accordion quintet started in 2013 in the Eindhoven region, or for Kwintissimo, an accordion quintet started in 2016 with players from all over the Netherlands. For most pieces there is a recording by the virtual quintet Professor P and for some pieces a recording by others..

If you are going to study and perform one of my arrangements (or download it for any other purpose) please send me an email (to debra at win.tue.nl). When I have your email I can let you know about possible small errors I find in an arrangement and when you find an error please also let me know so I can notify everyone else who uses the arrangement. (An invitation to a concert would be appreciated even more, especially if it's not too far away.)
Better still is that when you finally master a new piece, post it on YouTube (and don't forget to mention me as arranger so that when I simply search for my name I can find all these performances)!

Most arrangements assume that the orchestra has at least 5 players (4 accordion + 1 basson accordion) and if there is percussion it is written to be played by 1 person. Some arrangements assume at least 6 players and some can be done with just 4.

The compositions and the arrangements that I made from Public Domain music are not only available here but also on IMSLP, the Petrucci Music Library of (mostly old) music that is in the public domain. When the compositions are in the Public Domain even in Europe they are also available from Novam, the Dutch organization for accordion and harmonica.
My arrangements and compositions have a Creative Commons Attribution license meaning you can use them as long as you mention my name. You can adapt my arrangements for a different orchestra too as long as you keep mentioning my name as your source.

The compositions are ordered alphabetically by composer (and then title or catalog number for multiple pieces by the same composer).

Recordings of Public Domain music are available directly from this site. Recordings of still copyrighted music are available through YouTube (so YouTube pays the fees to the rights holders). For each recording it is indicated who plays the music.

Ballet Giselle, Act. 1, Valse, A. Adam

Adolphe Adam (French composer, 1803-1856) is best known for opera and ballet compositions. The ballet Giselle (1841) contains this nice waltz of which the arrangement is for accordion orchestra (7 accordion parts, bass, timpani and triangle). It can be played with 8 players (bass can even fill in missing notes from timpani) but is better with an orchestra in order to perform diviso where needed. With an accordion orchestra it is not a difficult piece.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Concerto a Cinque, op. 9, nr. 2, T. Albinoni

Tomaso Albinoni composed a series of "Concerti a Cinque", of which it isn't all that clear what "Cinque" means because all these concertos have more than five parts. The concerto opus. 9 nr. 2 is for at least 2 violins, oboe, viola, cello and continuo (6 in total). The arrangement is for accordion quintet or sextet. The arrangements are identical but the third voice is split in the sextet arrangement. The combined third voice can only be played on a button accordion (or else by a player with enormously big hands). From this concerto the second movement has been arranged, a famous Adagio. (It's not "the" famous "Adagio by Albinoni" which is not composed by Albinoni.)
Download:
complete parts, score for quintet, score for sextet, quintet Musescore 3 source, sextet Musescore 3 source, recording by Professor P.

Concerto a Cinque, op. 7, nr. 3, T. Albinoni

Tomaso Albinoni composed a series of "Concerti a Cinque", of which it isn't all that clear what "Cinque" means because all these concertos have more than five parts. The concerto opus. 7 nr. 3 is for at least 2 violins, oboe, viola, cello and continuo (6 in total). The arrangement is for accordion quintet (the continuo appears sometimes in the 3rd voice which is mostly oboe and sometimes in the 4rd voice which is mostly viola. The arrangement files for download are of each of the 3 movements separately, but as they are rather short the whole piece is just 7 minutes, so the audience may still appreciate hearing all of this composition and not just one movement.
Download:
complete parts, mov. 1, parts, mov. 1, score, mov. 1, Musescore 3 source, mov. 2, parts, mov. 2, score, mov. 2, Musescore 3 source, mov. 3, parts, mov. 3, score, mov. 3, Musescore 3 source, recording by Professor P.

Blue Tango, L. Anderson

Leroy Anderson was an American composer, mostly known for short concert pieces, and for light music. Famous compositions include "Sleigh Ride" and "the Syncopated Clock", but "Blue Tango" (written in 1951 and recorded by Anderson's orchestra) was the first instrumental recording ever to sell one million copies. (The B-side contained "Belle of the Ball".)
The arrangement can be played by an accordion quintet, but there is also a drum part (with bells/glockenspiel at the very end), and especially the third voice can benefit from some diviso if more players are available.
Download:
parts, score, recording by Professor P.

Forgotten Dreams, L. Anderson

Leroy Anderson was an American composer, mostly known for short concert pieces, and for light music. One such short pieces (from 1954) is Forgotten Dreams. Anderson initially intended to write this for piano solo but then though that there was more in it and turned it into a piece for piano and strings, and later for a larger orchestra. The schema of this piece is ABCBA, each part with a different tempo. The second (and fourth) part has 96 indicated but most performers play this a bit more slowly. The arrangement can be played by an accordion quintet, but there is also a bells/glockenspiel part, and especially the third voice can benefit from some diviso if more players are available.
Download:
parts, score, Musescore 3 source, recording by Professor P (with bells/glockenspiel played by Musescore..

Il Postino, L. Bacalov

This arrangement has a nice solo part which is best played either on an accordina, harmonica or bandoneon to create a sound that is more distinct from the other parts.
Download:
parts, score, recording by ARTE.

Am Abend aber desselbigen Sabbats: Sinfonia (mov. 1), J.S. Bach, BWV 42

The Cantate "Am Abend aber desselbigen Sabbats" has 7 movements and starts with an instrumental piece: Sinfonia. This written for strings, 2 oboes, 1 bassoon, double base, organ and continuo. There are two arrangements: one for accordion sextet, in which some of the "instruments" jump between parts so as to fit everything in, and another version for accordion orchestra, which is a straightforward transcription of the original parts, with just the continuo part made up from scratch. This piece is not very difficult (especially not the orchestra version).
Download:
sextet parts, sextet score, sextet Musescore 3 source, orchestra parts, orchestra score, orchestra Musescore 3 source, (sextet) recording by Professor P.

Bist du bei mir, J.S. Bach / G.H. Stölzel, BWV 508

This song (also known as "Komm süsser Tod") from the "Notenbüchlein der Anna magdalena Bach" has been arranged for quintet by adding parts that do not exist at all in the original. (I actually could not find this song in my version of that Notenbüchlein.) The melody was originally from Gottfried Heinrich Stölzel, and arranged (orchestrated) by Bach.
The fourth voice can easily be omitted for a performance with quartet. There is a duo arrangement from which the second line mostly combines what was second and third so it's possible to combine different bits to play it with three people as well. And finally, there is a duo arrangement in F that enables the bass line to be played an octave lower (as it then only goes down to E). This however requires a high Bes in the first voice (unless played in different register in loco).
Download:
parts, score, MuseScore source. duo version, MuseScore source duo version, duo version in F, MuseScore source duo version in F, Quintet Recording by Professor P, Duo Recording by Professor P.

Brandenburg Concerto nr. 2, mov. 3, J.S. Bach, BWV 1047

The Brandenburg Concerto nr. 2 is written for four solo instruments (trumpet, soft flute (recorder), oboe, violin), strings, continuo and double base. As a result it is difficult to make an arrangement with just a few parts. This arrangement is for sextet, with the four solo instruments in the voices 1-4 and the continuo in part 5. Strings are in different parts where needed and possible. Some careful choices of the registration remain necessary to produce four different sounds for the solo instruments. This is quite a difficult arrangement in all parts, including the bass. To make it easier to follow sections with several measures of rest the parts have these sections filled in with small notes.
Download:
parts, score, Musescore 3 source, Musescore 3 source for the parts, with small notes, recording by Professor P.

Brandenburg Concerto nr. 3, J.S. Bach, BWV 1048

Brandenburg Concerto nr. 3 is by far the most popular of Bach’s Brandenburg Concertos. Originally written for strings, with 10 parts,it was a challenge to reduce this to 4 accordions plus bass. This is quite a difficult arrangement in all voices, including the bass. Especially the third movement is a real challenge!
Download:
parts, score, Musescore 3 source, recording by Professor P.

Brandenburg Concerto nr. 5, mov. 3, J.S. Bach, BWV 1050

The Brandenburg Concerto nr. 5 is the first concerto Bach composed after obtaining a new harpsichord. It really shows off the harpsichord and was in fact the first of a long series of concertos for keyboard and orchestra (aka piano-concertos) Bach would go on to compose. The arrangement has four solo parts: acc. 1 plays the right hand of the harpsichord, acc. 2 plays the left hand (but on the treble side of the accordion), acc. 3 represents the flute and acc. 4 the solo violin. Acc. 5 are the other violins and acc. 6 the viola. The cello and bass parts are for the bass accordion. The two harpsichord parts (acc. 1 and 2) are quite difficult with long fast runs. Everything else is not so difficult.
Important note: Originally this composition is written in 2/4, and the whole piece has lots and lots of triplets because really it sounds like 6/8. To make it easier to read and play the arrangement is written in 6/8.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Brandenburg Concerto nr. 6, mov. 3, J.S. Bach, BWV 1051

The Brandenburg Concerto nr. 6 is special: it's written for violas, violas da gamba, cello, bass and continuo. This implies that everything is a bit low for accordions. The arrangement is transposed up from B flat to C (which just fits 41-note accordions with A as highest note). This composition is not easy, but the difficulty is in the first, second and fourth voice. Third and bass are easier.
Professor P has illustrated the arrangement with a recording.
Download: parts, score, Musescore 3 source, recording by Professor P.

Adagio from Prelude, Adagio and Fugue for organ, J.S. Bach, BWV 564

This slow piece was featured in (the last episode of season 2 of) the Belgian TV series "Professor T" (or just "T" for short). There are two versions here: one for quintet and one for duo. The quintet version also contains a 4+bass part so a quartet of accordions can play this (but the 4+bass requires melody bass). The piece is very slow and to make it easier to read the duo version is also available using double note values.
Note: the quintet version can be played as quartet by leaving out acc. 4 which yields almost exactly the organ version, or as trio by also combining acc. 2 and 3.
Note: the duo version is for one solo instrument (only right hand) and one accordion with melody bass (convertor or MIII).
Download:
parts, score, duo version, duo version with double note values, MuseScore source, MuseScore duo source, (quintet) recording by Professor P..

Wachet auf, ruft uns die Stimme, Philipp Nicolai and J.S. Bach, BWV 645

This choral by Philipp Nicolai (composed in 1599) has been arranged for organ by Bach as BWV 645, or for violins, voice and continuo as BWV 140. The new arrangement is for 3 accordions and bass, but can also easily be played by a quintet by doubling the first voice..
Download:
score, parts, Musescore source, recording by Professor P.

Duo-Concerto in D Minor, part 1, J.S. Bach, BWV 1043

This piece is rather difficult, including the bass-accordion part. There is no percussion part.

Download:
parts, score, recording by Professor P.

Duo-Concerto in D Minor, part 2, J.S. Bach, BWV 1043

This piece is best played by 6 or 7 players as parts III and IV divided in an upper and lower sub-part. The score has these combined but in the parts file the separate sub-parts are included as well. It is possible to play this with 5 players but it is easier with at least 6. This wonderful composition needs to be played with a lot of passion. There is no percussion part.
Download:
parts, score, Zip archive with Capella source files, live recording by Avanti, CD recording by ARTE, recording by Professor P.

Erbarme Dich, from the Mattheus Passion, J.S. Bach, BWV 244

This is the most famous part of the Mattheus Passion, arranged in 7 parts (2 solo parts, 4 normal parts plus bass).
Download:
parts, score, recording by Professor P.

Concerto for Oboe d'amore in A major, J.S. Bach, BWV 1055R, first movement

This piece for Oboe d'amore (goes a bit lower than a normal oboe) and strings has been arranged for quintet. If the first voice is played by oboe d'amore, it may need to be transposed for the player to read it. The arrangement is written in concert pitch so as to be ready for accordion quintet. The only part that really deviates from the original is the fourth voice: this is the viola part with lots of stuff added to also form the continuo part. This arrangement covers only the first movement.
Download:
parts, score, Musescore source, recording by Professor P.

Orchestral Suite nr. 2, J.S. Bach, BWV 1067, Polonaise

Polonaise (mov. 5) from the Orchestral Suite nr. 2 by Johann Sebastian Bach precedes the Menuet and Badinerie (see below). The solo part in BWV 1067 is played on the flute, but in this arrangement it is suggested to play it on the accordina.
Download:
parts, score, Musescore 3 source recording by Professor P.

Orchestral Suite nr. 2, J.S. Bach, BWV 1067, Menuet and Badinerie

Menuet and Badinerie are the last two movements of BWV 1067, and probably also the most famous two movements. In the quintet arrangement the Menuet has a real continuo part (4rd voice) but Badinerie does not (and does not really need it). The Menuet is relatively easy, compared to Badinerie. It is best to use a clearly distinct instrument for the solo parts. The accordina may be a good choice for that, but a non-cassotto register may also do well.
Download:
parts, score, Musescore source, recording by Professor P.

Orchestral Suite nr. 3, J.S. Bach, BWV 1068

This is the suite containing the famous Air. It is for accordion orchestra. Especially the 4rd voice is a bit hard to play solo, making it hard to do this with quintet (but not impossible). There is a Timpani part as well, like in the original.
Download:
parts, score, MuseScore source (5 files in zip). recording of Air by Professor P. recording of Gavotte by Professor P.

Air from the Suite for Orchestra, J.S. Bach, BWV 1068

While working on an arrangement of the whole suite I made a version of Air for two accordions, using standard bass in the accompaniment. The second part is best played on a button accordion because of large distances (but it can be done on piano accordion with large hands).
Download:
score, MuseScore source.

Gavotte from the Suite for Orchestra, J.S. Bach, BWV 1068

This is a movement from the suite, arranged in only 4 voices (3 accordions plus bass) many years ago already.
Download:
parts, score.

Harpsichord Concerto No.5 in F minor, Arioso (Largo), J.S. Bach, BWV 1056

This slow piece is best played by a quintet, one player for each voice. It is very challenging to combine the solo first voice with nice melody with the "plucked" notes in other voices, and the softer but unique continuo voice (fourth voice).
This movement from the Concerto is also used by Bach for a well-known aria, BWV 156.
Download:
parts, score, recording by ARTE.

Partita 2 (Sinfonia) BWV 826, J.S. Bach

This piece has an interesting third part which is difficult for all voices. I got the inspiration for this piece after hearing a performance by the Pawel Smirnov orchestra.
Note that the original has all notes of half the value of this arrangement. That makes for lots of 1/32 notes and some 1/64 notes and is hard to read, so that's why I changed it all.
Download:
parts, score recording by Professor P.

Sheep May Safely Graze, BWV 208, J.S. Bach

This is a straightforward arrangement for quintet. I recorded it in 2005 already.
Download:
parts, score, recording by Professor P, made for Avanti.

Violin Concerto no. 1 (BWV 1041 and 1058), first movement, J.S. Bach

BWV 1041 is Johann Sebastian's Bach's first violin concerto (in A minor) and BWV 1058 is the seventh Harpsichord concerto (in G minor). They are in fact the same composition, for a different ensemble. I made one arrangement out of both, mainly BWV 1041, with bits of 1058 added, mostly as part of the continuo part (4rd voice). I made a version for accordion quintet and one for either sextet or orchestra with a solo part.
Download:
quintet parts, quintet score, quintet Musescore source, sextet parts, sextet score, sextet Musescore source, recording by Professor P.

Violin Concerto (BWV 1042 and 1054), first movement, J.S. Bach

BWV 1042 is a violin concerto in E and BWV 1054 is a piano concerto in D. I made one arrangement out of both (which are almost identical anyway). There is no percussion part.
Download version in D:
parts, score live recording, played by Accordeana (from Helmond).
If you wish to perform this with a violin solo it is better to this version in E (easier for the violinist).
Download: parts, score, recording (version in E) by Professor P.

Violin Concerto nr. 2, (BWV 1042), third movement, J.S. Bach

Years after arranging the first movement I decided to also make an arrangement of the third movement: Allegro assai. This again is for quintet or orchestra. The first voice is solo.
Download:
parts, score, MuseScore source, recording by Professor P.

Concerto for Oboe and Violin (BWV 1060R), J.S. Bach

BWV 1060 is a concerto for 2 harpsichords (and strings) and has been reworked into BWV 1060R for Oboe and Violin, which turned out to be much more popular. I made an arrangement of 1060R where I made it richer not just be adding the continuo part but also by inserting bits from 1060 that were removed in 1060R. The three parts (allegro, adagio, allegro) are placed in separate files as I expect most ensembles to select just one of the three movements. (The second movement is not too difficult, the first and third are quite challenging.)
Download:
1: Allegro, parts, 1: Allegro, score, 1: Allegro, MuseScore, 2: Adagio, parts, 2: Adagio, score, 2: Adagio, MuseScore, 3: Allegro, parts, 3: Allegro, score, 3: Allegro, MuseScore, recording (all 3 movements) by Professor P.

Jesus bleibet meine Freude (BWV 147), J.S. Bach

This choral is a part of Cantata BWV 147. The arrangement is for quintet, but also suitable for a larger ensemble (to allow for "diviso"). The main theme is for soprano and trumpet, hence the registration.
This arrangement was slightly revised in 2022 (mainly registration in the second voice).
Download:
parts, score, MuseScore 3 source, recording by Professor P.

Sei Lob und Preis mit Ehren (BWV 167), J.S. Bach

This is the choral from BWV 167, made famous by Yo-Yo Ma (see and hear it on YouTube). The arrangement is fairly straightforward except for a few alterations and a completely made--up continuo part. The first, fourth and basson parts are fairly difficult, the second and third voice are easy. Good for a mixed orchestra.
Download: parts, score, recording by ARTE.

Wir Eilen mit schwachen, doch emsigen Schritten (BWV 78), J.S. Bach

This is the second part of Jesu, der du meine Seele. It has been arranged for 6 parts. Don't be surprised to see some unexpected dissonant notes. They are all in the original, and when you hear the whole ensemble, they are not disturbing.
Download:
parts, score, recording by Professor P.

Adagio for Strings, S. Barber

Adagio for Strings is a challenge because it is so slow. I made the arrangement in 2004 for Avanti, and now converted it to MuseScore, and made a small correction too. Note that this is not yet public domain (until 2032 or 2052 depending on your country's legislation).
Download:
parts, score, MuseScore source.

Hirtengesang (Symphony nr. 6, movement 5), L.v. Beethoven

Hirtengesang ("Frohe und dankbare Gefühle nach dem Sturm") is the final movement of Ludwig van Beethoven's Symphony nr. 6. The arrangement for accordion quintet or orchestra is an abridged version (just over 4 minutes instead of 9) and shows an interesting contrast between a very difficult first voice (lots of ricochet with large chords) and relatively easy other voices, especially when using diviso.
Download:
parts, score, Musescore source, recording by Professor P.

Minuet in G (WoO 10, nr. 2), L.v. Beethoven

This is perhaps the best known minuet from the series of 6 composed by Ludwig van Beethoven (as WoO 10), originally for piano. There is a small orchestra arrangement by Leo Artok (German arranger who lived from 1885 to 1935) of which bits have been used in this accordion quintet arrangement.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Romance nr. 2, Opus 50, L.v. Beethoven

The Romance nr. 2 in F major is a very melodious piece for violin solo and orchestra. The arrangement has a solo piece which is more than just what is in the violin solo (so you cannot simply get an outstanding violinist to play just the solo part from the arrangement and then only use parts 1, 2, 3, 4 and bass with accordions).
There are two arrangements: the full version and an abridged version, the reason being that this is a rather long piece, maybe too long for certain audiences. In the abridged version measures 40 to 78 (out of 103) have been eliminated. The arrangement is generally not difficult. The solo part is a bit more difficult and requires an accordion with high C.
Download:
parts, full version, score, full version, Musescore 3 source, full version, parts, abridged version, score, abridged version, Musescore 3 source, abridged version. recording (full version) by Professor P, recording (abridged version) by Professor P.

Casta Diva from the opera Norma, V. Bellini

Casta Diva is one of the better-known songs from the opera Norma by Vincenzo Bellini. The arrangement is for quintet, where for a few measures the third voice needs to also use a few easy bass notes/chords.
Download:
parts, score, MuseScore source.

Un Bal (Symphonie Fantastique, mov. 2), H. Berlioz

Un Bal is an uplifting waltz, for a band of strings and wind instruments (without percussion) and is the second movement of the Symphonie Fantastique by Hector Berlioz. The arrangement for accordion quintet (or larger ensemble) is slightly shortened (but only a real "connaisseur" would notice) and is adapted to what is possible (but not necessarily easy) on the accordion: very fast repeating notes have been changed into tremolo parts. Despite a serious attempt to make this waltz feasible it remains very difficult, and is definitely "Höchststufe" material.
Originally this piece was written in 3/8 but the arrangement is in 3/4 because that is easier to read.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Waltz, from Divertimento for Orchestra, L. Bernstein

Leonard Bernstein was an American composer (and pianist and conductor) of many talents. His music isn't always very "audience-friendly" but this Waltz from the Divertimento for Orchestra certainly is. It's a bit of a crooked waltz as it's in the time signature of 7/8. There are two arrangements: one for accordion orchestra (which is surprisingly rather different than the original, because accordions "like" different intervals than violins) and one for quintet. The quintet arrangement is more challenging than the one for orchestra because as much as possible from the complete composition was retained.
Download:
parts, score, Musescore 3 source. quintet parts, quintet score, Musescore 3 quintet source, recording by Professor P.

Entr'Acte from Carmen, G. Bizet

The Entr'Acte between Act II and Act III has been made popular by famous accordion player Ksenija Sidorova who renamed this to "Sunrise over Seville". The arrangement is for quintet (plus optional timpani) but can easily also be played by quartet (there is a combined 4+B part). There is also a duo version.
This piece is in the key of Es major and requires a high Bes in the first voice. To make it playable by musicians lacking that high Bes (but having A like most piano accordions do) I have also included a transposition to the key of D major.
Download:
parts, score, duo version, parts in D, score in D, duo version in D, MuseScore soure, MuseScore duo soure, MuseScore soure in D, MuseScore soure duo in D.

Minuet, G.275, L. Boccherini

This famous minuet has been arranged for quintet and for duo. It is not difficult (but the 1st accordion part of the duo version requires a little bit of melody bass).
Download:
parts, score, duo version

Prière à Notre Dame (Gothic Suite), L. Boëllmann

This is part 3 of the Gothic Suite. It is easy but delicate.
Download:
parts, score, recording by Avanti.

Toccata (Gothic Suite), L. Boëllman

This is the final part of the Gothic Suite. It is quite difficult, especially the end of the first voice. But when played well it is a fantastic showpiece. There is no percussion part.
Download:
parts, score, recording by Avanti.

Black Orpheus, Manhã de Carnaval, L. Bonfá

Manhã de Carnaval (Carnival Morning) is the main song from the movie "Orfeu Negro" (Black Orpheus). This composition has become a world-wide hit and a jazz classic. This arrangement for accordion quintet tries to bring this song into the realm of amateur accordion players. Only one voice (the third) is moderately difficult with lots of improvised melodies.
Download:
parts, score, Musescore source, recording by Professor P.

Notturno from the Second String Quartet, A. Borodin

This is a well-known piece by Alexander Borodin. Because of the difference in range between (standard) accordions and a viola and cello the string quartet has been arranged for accordion quintet. It sounds deceptively easy, but in fact there are some interesting challenges: the melody transposes all the time (for which I introduced key changes where the original just uses loads of accidentals), there is some very long fast bellow shake and tremolando which is difficult to keep up without weakening after a while.
Because this piece is both long and difficult (near the end) I also created an abridged version (5:00 instead of 7:20) which omits the difficult part with all the below shake and tremolando.
Download:
parts of full version, score of full version, Musescore source of full version, parts of abridged version, score of abridged version, Musescore source of abridged version, recording (full version) by Professor P, recording (abridged version) by Professor P.

Polovetsian Dances (1-2), A. Borodin

Alexander Borodin spent the last eighteen years of his live on his opera "Prince Igor" but died (in 1887) before completing it. Nikolai Rimsky-Korsakov and Alexander Glazunov completed the opera and Rimsky-Korsakov did the orchestration. The opera features several Polovetsian Dances. This arrangement contains the introduction and the first two of these dances. The arrangement can be played by accordion quintet but also (and perhaps better) by a larger ensemble with percussion added.
Download:
parts, score, Musescore 3 source, Musescore 3 source for the percussion, recording by Professor P.

Sugar (De Fabriek), R. Bos

This is the main theme of the TV series "De Fabriek" that was very popular in the eighties in the Netherlands. The composer, Ruud Bos, sadly died in June 2023. The arrangement of "Sugar" is best suited for a large accordion orchestra (first voice requires at least 3 players, second voice at least 2).
This arrangement has been performed by the "Accordeonvereniging Aeolus" (Spankeren, Dieren, the Netherlands) and they published the
recording on YouTube.
Download: parts, score.

Ave Cello, P. De Bra

This is my first "serious" own composition. It is based on Cello Suite nr. 1 by Bach (BWV 1007) and the Ave Maria by Gounod. Gounod wrote the Avé Maria on a different work by Bach. The Cello Suite is normally for unaccompanied cello, and I have once performed it on the basson accordion (after transposing it down a bit). Here it is transformed to a swinging song for 5 players: 3 accordions, one percussion player which can actually also be done on accordion and then the basson.
Download:
parts, score, live recording by ARTE (with percussion done on cajon), recording by Professor P (with percussion done on djembé).

Rockalise, P. De Bra and S. Rachmaninoff

My second composition: a rock and swing number using the composition Vocalise by Serge Rachmaninoff. Vocalise is a long slow piece, hard to make this sound interesting with an accordion ensemble. But by turning it into a rock and swing piece it gets a completely new twist. The composition/arrangement is for accordion orchestra, including drums, but it can also be played by a quintet. To make this easier for an accordion orchestra divided parts 2 and 3 (2a, 2b, 3a, 3b) are included.
To make it easier to imagine what this may sound like there is a
recording by Professor P.
Download: parts, score, Musescore source, recording by Professor P.

Irish Medley, Traditionals / P. De Bra

After a visit to Ireland in 2015 I made this medley for the accordion quintet ARTE. The arrangement of 5 Irish traditionals is made especially for a quintet (and not a larger ensemble) because of the "comic twist". In a few songs one player (either first or second voice) "accidentally" goes off track and plays part of the melody of another song from the medley or even a song not part of the medley. The other players are then supposed to pull a mad face, trying to correct the player who went off-track, while continuing to play on... Because of the comic twist in here, this is a composition/arrangement that really has to be watched as well as listened to.
A recording by accordion quintet ARTE can be found on the CD "Van ARTE".
Download:
parts, score.

Symphony nr. 3 opus 90, third movement, J. Brahms

The third movement of Symphony nr. 3 opus 90 by Johannes Brahms is a nice orchestra work, reduced to five parts (for quintet) and also reduced in time a bit. The first voice requires a high Bes. The third part can use the high C but can be played without. As for the bass accordion, the whole range of 40 notes is used when available.
Download:
parts, score, Musescore soure. recording by Professor P.

Waltz opus 39, nr. 15, J. Brahms

Number 15 is the best known Waltz from the collection of 16 waltzes, originally for piano 4 hands, based on a melody by Robert Schumann. It is a very short piece, and easy to play as well. As usual the main arrangement is for accordion quintet, but I have also created a version for quartet (3 accordions and bass accordion), one for trio (3 accordions) and one for quo (two accordions).
Download:
quintet parts, quintet score, quintet Musescore 3 source, quartet score, quartet Musescore 3 source, trio score, trio Musescore 3 source, duo score, duo Musescore 3 source, recording (quintet version) by Professor P..

Violin Concerto nr. 1, mov. 2: Adagio, M. Bruch

Max Bruch was a German Romantic composer who wrote over 200 compositions, including three violin concertos. This arrangement is from the well-known Adagio from the first concerto. The concerto is written in E flat, resulting in the need for a high B flat, not available on a 41-key piano accordion. Therefore the arrangement comes in two versions: on in E flat and one in D. It can be played by a sextet (plus optional timpani) but also by an accordion orchestra with solo (and timpani).
Many years ago I already made an arrangement for Avanti (in D) but this arrangement is completely revised, and available in E flat as well as in D.
Download:
parts, score, Musescore 3 source. parts in D, score in Din D, Musescore 3 source in D, recording by Professor P..

Concert Variations on The Star-Spangled Banner, D. Buck

The American composer and organist Dudley Buck (1839-1909) composed the Concert Variations on The Star-Spangled Banner using the national anthom of the USA, which is in fact a British song composed by John Stafford Smith. The arrangement for accordion quintet is not too difficult and shows that with an accordion ensemble better control of dynamics is possible than with an organ.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Tangled Up, G. Chambers, V. Degiorgio, D. Schreurs

This was the first major hit of Caro Emerald. I arranged it for sextet, and we once performed it with a singer during an accordion weekend in Ouddorp (Zuid-Holland). This composition I consider still way too recent to make an arrangement available for direct download. But if you want to try it, let me know.

Introduction from Concerto for Oboe and Strings, D. Cimarosa

The Concerto for Oboe and Strings is a combination of melodies written by Domenico Cimarosa. Arthur Benjamin compiled the Concerto (around 1942). The first part is "Introduction". The arrangement has a different ending because the original only leads up to the second movement and cannot really be used as an ending.
The arrangement is made for quintet, but it is possible to also play this piece with just two accordions, albeit both using both sides (one with melody bass) and the registration has to be adapted to create an acceptable balance. The quintet version is rather easy, the duo version is rather difficult.
Download:
parts, score, Musescore source, duo first voice, duo second voice, source duo first voice, source duo second voice, recording (quintet version) by Professor P.

Suite for Strings: Gigue, A. Corelli

Arcangelo Corelli (1653-1713) was a baroque violinist and composer, who mostly predated (with overlap) the big three (Bach, Handel, Vivaldi) and whose compositions are a bit lesser known. The arrangement for accordion quintet is of the second movement: Gigue (The suite is said to be in D minor but the Gigue is in A major). This is a short, uplifting and easy piece best played by a small ensemble. Although the fourth voice uses a low E a few times, the bass accordion can be used to hide this omission (this is needed for ensembles with small accordions).
Download:
parts, score, Musescore 3 source, recording by Professor P.

Golliwogg's Cake-Walk, C. Debussy

Golliwogg's Cake-Walk is number 6 from the album Children's Corner, for piano solo, by Claude Debussy. This happy sounding piece appeared to be very suitable for an arrangement for ensemble. The arrangement here is for accordion quintet plus drums, and therefore also usable for accordion orchestra. This piece, and that it comes from the "Children's Corner" may suggest that it is easy, and it is in fact easy to play but the middle section with 6 flats is not so easy to read.
Download:
parts, score, Musescore3 source. recording by Professor P.

Clair de Lune, Suite Bergamasque, mov. 3, C. Debussy

Clair de Lune is the third movement from the Suite Bergamasque for piano solo, by Claude Debussy. It is written in D flat major (so it has 5 flats). This is not only difficult to read (and play), it also results in parts that require at least the high C# (available on only a few piano accordions, as most large ones go to C only) and ideally a high G#, not available on any accordion. It can all be done with registers (as shown in the arrangement). But it is much easier to play this piece in C major, meaning that only the high C and optionally the higher G are needed, making register switches easier. The arrangement for accordion quintet is available in two versions: one in D flat and one in C.
Download:
parts, score, Musescore 3 source, parts in C, score in C, Musescore 3 source in C. recording (version in C) by Professor P.

Ballet (mov. 4) from Petite Suite, C. Debussy

Petite Suite by Claude Debussy (1862-1918) is a composition for piano 4 hands. Most famous is the orchestration by Henry Büsser (1872-1973). The arrangement for accordion orchestra is based on this orchestration and is of the fourth movement (Ballet). It consists of 8 accordion parts, bass and 4 percussion parts (timpani, triangle, cymbal, tambourine). Different registrations are used to simulate violins, trumpet, horn, oboe, clarinet, etc. Nothing is critical (as it was originally all piano anyway).
This composition is in the public domain world-wide, but the orchestration by Büsser is in the public domain in the USA, but will enter the public domain in reasonable countries on Jan. 1, 2024. (Europe has to wait another 20 years.)
Download:
parts, score, percussion score, Musescore 3 source, Musescore 3 source for the percussion score, recording by Professor P.

Valse from Coppelia, L. Delibes

The first dance (after the prelude) of the ballet Coppelia by Léo Delibes is this waltz, in E flat major. To make it into a "concert piece" an optional repeat was added in the arrangement. While this work can be performed by a quintet it is easier (using diviso) for a larger ensemble. There is a timpani part, but it can be omitted by adding some notes to the bass part (now indicated between parentheses). Because this work in E flat goes up to high B flat (in first and fourth voice) a second version is available, transposed down to D. This work sounds deceptively easy, a simple waltz after all, but there are some tricky bits in each voice.
Download:
parts, score, Musescore 3 source, parts, in D, score, in D, Musescore 3 source in D, recording by Professor P.

Flower Duet, opera Lakmé, L. Delibes

The vocal duet (between Lakmé and Mallika) is the best known song from the opera Lakmé by Léo Delibes (a French composer known for ballets and operas). In the arrangement for accordion quintet Lakmé is represented by the first voice and Mallika by the second voice, but in the middle part they alternate between voice and accompaniment (strings). The arrangement is not too difficult but it is in B major (5 sharps) and occasionally asks for a low E. To make things easier a version is included that is transposed up to C major, requiring only accordions with low F. (The 4rd voice does contain some lower notes, which are also in the bass part and can thus be omitted.)
Download:
parts, score, Musescore 3 source, parts, in C, score, in C, Musescore 3 source, in C, recording (original in B) by Professor P.

Karmen Collage, Y. Derbenko

This is originally a solo piece which I arranged for accordion orchestra. It is quite difficult, but really fun to play.
Download:
parts, score, live recording by Avanti.

Serenade nr. 1, F. Drdla

František (Franz) Alois Drdla (1868 - 1944) was a Czech violinist and composer, best known for "light" music. His Serenade nr. 1 is a well-known composition for violin and piano, played a lot by violin students. The arrangement uses bits from some (old and public domain) small orchestra arrangements. The main melody, in A major, is followed by an intermezzo in F major, before returning to the main melody, with an alternative second melody near the end, while the piano (second voice in the arrangement) takes over the main melody. To distinguish between violin and the rest the first voice uses a (light) tremolo register while the other voices use no tremolo.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Humoresque nr. 7 (opus 101), A. Dvorak

This is the best known Humoreque from the series of 8. The arrangement has been transposed to G (original is in Ges) and written in 4/4 instead of 2/4 (4/8) to make it more readable. The arrangement is written for 2 accordions and for 5 accordions. By combining parts from both you can also do 3 or 4 accordions.
Download:
parts, score, MuseScore source duo version, MuseScore source duo version, recording by Professor P.

Waltz from Serenade Opus 22, A. Dvorak

This waltz by Antonin Dvorak immediately sounds familiar (and may remind you of similar work by Tchaikovsky). It sounds deceptively simple but is actually quite difficult to play. It is a joy to listen to though. The arrangement is for quintet but an orchestra can divide parts to make it a bit less difficult to play.
Download:
parts, score, Musescore source. recording by Professor P.

Slavonic Dance opus 72 nr. 2, A. Dvorak

In the accordion world the Slavonic Dance nr. 8 is the most popular, thanks to an arrangement by Curt Herold. (A less known arrangement of nr. 3 also exists, by Fritz Kübart.) Originally written for piano 4 hands the Slavonic dances were also orchestrated. The dance nr. 2 (opus 72) makes for a very nice orchestral composition. It lends itself well for an arrangement for accordion orchestra (with many parts) but can easily be reduced to a version for quintet. Both arrangements (orchestra and quintet) are available. The first voice really asks for an accordion going up to high C but registration makes it possible to play everything with smaller accordions.
Download:
parts, score, Musescore 3 source, quintet parts, quintet score, Musescore 3 quintet source, recording (orchestra version) by Professor-P,

Enigma Variations: Nimrod, E. Elgar

Nimrod is Variation IX (Adagio) from the Enigma Variations by Edward Elgar. The arrangement is for large accordion orchestra (8 accordion parts, bass, timpani). It is best when the first voice (1a) can reach high C (but this can be avoided through a register change).

Download:
parts, score, MuseScore source recording by Professor-P.

Salut d'amour, E. Elgar

Edward Elgar dedicated this "Liebesgruss" to Caroline Alice Roberts, who later became his wife. Originally written for violin and piano, the composition was later arranged by Elgar for different instruments and ensembles. This arrangement is for accordion quintet, but can also be played by a larger ensemble which allows to use diviso to make some parts easier and/or to emphasize certain notes from a chord as desired. The arrangement is based on the orchestra version by Elgar himself.
Download:
parts, score, MuseScore source recording by Professor-P.

Nonetto opus 38, mov. 3: Scherzo Vivace, L. Farrenc

Louise Farrenc (born as Jeanne-Louise Dumont, 1804-1075) was a French composer, pianist and teacher. She initially composed mostly for piano but later also for many different (larger) ensembles. Her nonet (of which the arrangement covers movement 3: Scherzo Vivace) is one of her most well-known works. Simulating an ensemble of 9 musicians (consisting of wind and string instruments) using just 5 accordions requires some creative use of registers, and fast register switching. The arrangement can be played using "standard" 41-key piano accordions, but larger instruments are helpful in the use of registers and low (E) and high note. This piece sounds very happy and perhaps deceptively easy (or at least not very difficult) but some parts can be quite tricky at times.
Download:
parts, score, MuseScore 3 source, recording by Professor-P.

Trumpet Concerto in D, mov. 3, J.F. Fasch

The third movement of the Trumpet Concerto in D major by the German composer Johann Friedrich Fasch (1688-1758) lends itself for a trumpet solo plus accordion quintet, but the arrangement for sextet can of course also be done by just an accordion sextet. As a quintet is a common ensemble there is also a quintet arrangement (which could be done by trumpet plus accordion quartet if desired). The arrangement normally requires a high D but that can be avoided by using a different register when small accordions are used. Although this movement is "Allegro" it isn't very fast, and the whole arrangement is not difficult to play.
Download:
quintet parts, quintet score, quintet Musescore source, sextet parts, sextet score, sextet Musescore source, recording by Professor P.

Pavane, opus 50, G. Fauré

The Pavane (opus 50) by Gabriel Fauré is composed for a mixed ensemble of wind instruments and strings (thus, no percussion). It is moderately slow, and the same theme repeats often, each time using different instruments. This is a challenge for an accordion ensemble as we can only vary registers, not instruments. This arrangement has been written specifically for a quintet, meaning there is no "diviso" in any part, and register changes are not impossible. The composition is in F# minor and so is the arrangement. It can be played on small accordions (with just 41 notes).
Download:
parts, score, Musescore 3 source, recording by Professor P.

Panis Angelicus, C. Franck

Panis Angelicus (Angelic Bread) dates back to 1264 but was turned into a nice composition for tenor voice, harp, cello and organ, by Céesar Franck (in 1872). The accordion arrangement has been made in two versions: one for quintet and one for sextet. The sextet version is a bit easier. Both versions require the second voice to play a bit of standard bass (left hand of the harp part).
Download:
quintet parts, quintet score, quintet Musescore 3 source, sextet parts, sextet score, sextet Musescore 3 source, sextet recording, by Professor P.

Spleen, R. Galliano

This is an easy piece (except for the solo), for a small accordion group with solo on accordina.
Download:
parts, score, live recording by Avanti.

Tango pour Claude, R. Galliano

This tango has been made "interesting" through a somewhat difficult solo part (inspired by different virtuoso performances found online) and a moderately difficult bass part. The solo requires high notes typically only found on button accordions.
There is also a "joke" inside: at some point someone should stand up and play four measures from Libertango and then be reprimanded by the conductor while the orchestra continues playing. (That is part III-solo.)
Download:
parts, score, recording by Professor P.

Concerto Grosso, Opus 3, nr. 3: Allegro, F. Geminiani / A. Corelli

Francesco Geminiano created 12 concerti grossi based on 12 sonates by Arcangelo Corelli. The final movement (Allegro) of the third concerto grosso is a short fast piece. It has been arranged for accordion sextet, or a larger ensemble with solo part. The solo is quite difficult (just because it is fast) and the continuo part (fourth voice) is a bit more difficult than the other parts that are quite easy.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Tanzende Finger, H. Gerlach

Tanzende Finger is the most famous composition by Heinz Gerlach (who died as soldier in WWII in 1943). It is often played as a solo piece but lends itself well for an arrangement for quintet or ensemble. The first voice has some fast notes, but overall this piece is not very difficult (unlike if you do everything solo). Although it was defined as a "Polka" it is typically played quite a bit faster than a polka. Because Gerlach died in 1943 this work is in the public domain wlmost everywhere (but not yet in the USA), unlike a lot of the known popular accordion repertoire.
Download:
parts, score, Musescore 3 source, recording by Professor P.

The Man I Love, G. Gershwin

The Man I Love is a popular song with music by George Gershwin and lyrics by his brother Ira. It was proposed for the comedy "Lady Be Good", but then not used, and it featured in other shows and also in the 1947 film noir called "The Man I Love". This composition is considered to be part of the Great American Songbook, a loosely defined "canon" of significant jazz standards and songs. This arrangement for accordion quintet is somewhat based on a vocal version with easy piano accompaniment and on a solo piano version, both by Gershwin himself. It is not very difficult.
Download:
parts, score, Musescore source, recording by Professor P.

Adagio for Strings and Organ in G minor, T. Albinoni / R. Giazotto

The famous "Adagio by Albinoni" is actually a composition by Remo Giazotto. The composer claimed to have found a few measures and fragments of a continuo part in the Saksen state library, but this might not even be true. This Adagio is the most famous composition by Albinoni, and is not actually composed by Albinoni... It was composed in 1949. (The composer died in 1998 so this piece is not yet in the public domain.) The arrangement is for accordion quintet, where the fourth voice requires the use of melody bass. (Playing this with an orchestra with two bass accordions is actually easier to do.)
Download:
parts, score, Musescore source, recording by Professor P.

String Quartet 5(3), Ph. Glass

The third movement of Philip Glass' 5th string quartet is a good opportunity to become acquainted with minimal music and to learn to appreciate this style. I made an arrangement for accordion quintet (a quintet is better suited for this string quartet because of the range of the instruments).
Download:
parts, score.

Ruslan and Lyudmila (Ouverture), M. Glinka

When I first heard the Ouverture of Ruslan and Lyudmila by Mikhail Ivanovich Glinka, played by the Pawel Smirnov accordion orchestra I thought this was way too difficult to ever play this with "amateurs". I have now made an arrangement for quintet or orchestra plus timpani. The difficulty depends a lot on the speed at which this is played. It's best not to overdo it. To give an impression of what it sounds like, played by quintet (without timpani),
Download: parts score Musescore 3 source, recording by Professor P.

Orphée et Eurydice: Dance of the Blessed Spirits, Ch. W. Gluck

The Opera Orphée et Eurydice by Christoph Willibald Gluck exists in two versions: Wq. 30 and a later revision Wq. 41. The part "Chor der seligen Geister" or "Dance of the Blessed Spirits" appears completely as in this arrangement only in Wq. 41. It seems that Wq. 30 only contains the first half (according to the sheet music editions used). The arrangement for accordion quintet is easy to play, and follows the original quite closely. Acc. 1 represents flutes, and the other parts are strings (Acc. 2 and 3 violins, 4 viola, and then bass. However, to also play what the cello does some juggling between the 4rd voice and the bass was needed. This piece goes slowly and is rather long (about 7 minutes). But it can be shortened a bit by omitting the repeat of the second part.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Berceuse, Jocelyn Suite 2, mov. 2, B. Godard

Benjamin (Louis Paul) Godard was a 19th century violinist and composer, best known for his opera Jocelyn. Music from the opera was extracted into two suites. The song Berceuse is the second of the second suite. That song is Godard's best-known composition. The arrangement for accordion quintet is not difficult to play, but as it is somewhat slow it is tricky to synchronize all five voices, especially when this song is played "rubato".
Download:
parts, score, Musescore 3 source, recording by Professor P.

Ecce Homo Qui Est Faba, H. Goodall

To many people this title may mean nothing, and the religiously sounding melody may not ring a bell either, but this piece is the theme song of the mister Bean series (and the title translates to "Behold the man who is a bean"). The arrangement consists of a quintet version that has an extra repeat built into it (otherwise it is a very short piece), and a duo version (that does not have the extra repeat). The duo version requires melody bass.
Beware: this piece is not in the public domain (for a long time to come), but I am publishing it as many other arrangements can be found publicly online as well so I assume the rights holders will tolerate it. The composer is Howard Goodall.
Download:
parts, score, Musescore source, duo version, Musescore source duo, recording by Professor P.

Holberg Suite (1,2,5), E. Grieg

The whole Holberg Suite is a bit long for a typical varied concert. This arrangement contains 3 from the 5 parts. The arrangement can be played with 5 or 6 musicians. It is easier with 6 but it can be done with 5 with some additional difficulty.
Download:
parts, score. recording (quintet version) by Professor P.

Solvejgs Song, from Peer Gynt Suite nr. 2, opus 55, E. Grieg

Solvejgs Song is part 4 of Peer Gynt Suite nr. 2 by Edvard Grieg. The arrangement is for accordion orchestra or quintet, and there is also a duo version. This is a very well known nice song, and it is technically rather easy. Note, The 3rd voice may use a high C (once) and the 4rd voice may use a low E (once). Both can be avoided.
Download:
parts, score, Musescore source. duo version. Musescore source duo version, recording (of the orchestra/quintet version) by Professor P.

Elegische Melodien: Våren, E. Grieg

Of the two Elegische Melodien composed by Edvard Grieg as opus 34, the second one: Våren (which roughly translates to "last spring"), is a very nice slow melody. Originally written for strings it lends itself quite well for an arrangement for accordion ensemble. The 9 parts have been condensed into 5 parts for a standard accordion quintet.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Wedding day in Troldhaugen, E. Grieg

Wedding day in Troldhaugen, part 6 from the Lyrische Stücke opus 65 by Edward Grieg, is an uplifting piece, with a very happy part and a very lyric part. It was composed for (solo) piano. While it is very difficult on the piano I made an arrangement for accordion quintet that is not so difficult. Some tricky bits (like quintuples) have been simplified without being noticeable.
Download:
parts, score, Musescore soure, recording by Professor P.

The Music for the Royal Fireworks, G.F. Handel

The Music for the Royal Fireworks (HV 351) by Georg Friedrich Handel, was aimed to be performed at the Royal Fireworks in 1749. This was an indoor event and the theatre burned down. (The Music was already performed at a rehearsal, without problems). The arrangement is for accordion orchestra, including timpani. It is a slightly reduced version (part of the Overture omitted) to keep it under 11 minutes. It can be played with just a quintet but is rather difficult then.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Ouverture from Rinaldo, G.F. Handel

The Ouverture from the opera Runaldo (HWV 7a and 7b) by Georg Friedrich Handel is less known than the aria "Lascia ch'io Piange", but is a real gem. The arrangement is for quintet, but there are solo and tutti parts and fast register changes, making it more suitable for a larger ensemble.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Aria "Lascia ch'io Piange" from Rinaldo, G.F. Handel

This Aria (Largo) is a well known part from the opera Rinaldo by Georg Friedrich Handel. It is slow and repetitive but the continuo part (acc. 4) livens it up in my arrangement for quintet or for duo.
Download:
parts, score, Musescore source, duo score, Musescore duo source, recording by Professor P.

Sarabande, from Harpsichord Suite HWV 437, G.F. Handel

This is the most famous Sarabande by George Friedrich Handel. It is from a Harpsichord Suite, but now arranged for quartet or quintet and for duo. The quartet/quintet arrangement has a diviso making it sound differently with quartet versus with quintet, but the notes are the same. There are two versions of the duo arrangements: the "standard" one has a part that requires good melody-bass skills; the "bayan" version has that part moved to the treble side, but it requires the low range of a bayan keyboard.
Note: the duo version has been transposed from D minor to E minor because most accordions have melody bass going down only to E (not to D).
Download:
parts, score, Musescore source, duo score, Musescore duo source, bayan duo score, Musescore bayan duo source, recording (as quartet) by Professor P.

The Arrival of the Queen of Sheba, G.F. Handel

This famous part from the Oratorium Solomon by Handel is very well suited for an accordion orchestra, but it can be done with a quintet and the score indicates how to do so. The score and parts also contain lots of hints on how to play the piece (like which notes to make shorter and which longer). The second and third voice have been indicated as a bit louder than the other voices, not because they should sound louder but because they use one reed whereas all other voices play on two reeds. (Accordion players tend to forget to compensate for the number of reeds they play.) As with the original there is no percussion part.
A recording by ARTE is available on the CD "Van ARTE".
Download:
parts, score

Largo from Xerxes (Ombra mai fù), G.F. Handel

This piece is mostly known as the "Largo by Handel", but actually is the song "Ombra mai fù" (There is never shade) from Scene 1 of Act 1 of the Opera Xerxes. Most performances (and all performances I know of by accordion ensemble) ignore the existence of a continuo part, resulting in a rather boring slow piece. The continuo really livens it up.
First of all there is an arrangement for duo (two accordions or one accordion and some other solo instrument). This does not have a continuo part, sorry.
Then there is the quintet arrangement. By omitting the continuo part (acc. 4) this can be played by a quartet, and by dividing the third part it can be played by a sextet (or larger orchestra). A divided third part is included. By adding the continuo part (acc. 4) to the duo version a trio version is obtained.
Download:
duo version, Musescore duo score, (quartet/quintet/sextet) parts, score, Musescore source, recording (quintet) by Professor P.

Concerto Grosso op. 6 nr. 12 (3), G.F. Handel

This is a very nice slow piece. The variation in the second voice and the whole fourth voice (basso continuo) are entirely made up by me. There is no percussion part.
Download:
parts, score, recording by Professor P.

The Water Music, selection of pieces from the first suite, G.F. Handel

The Water Music by Handel is a series of suites, of which nobody knows for certain what was intended to go where and where the music was performed in Handel's time. The first suite, HWV 348, is a Horn suite in F major. As it is rather long this arrangement consists of a selection of 5 pieces: Introduction (1), Allegro (3), Air (6), Bourrée (8) and "Alla Hornpipe" (12F), the latter of which is supposedly an early version of what became a Hornpipe in the second suite (HWV 349). There are 5 voices, but some division is needed, at least in the first voice, and probably also in other voices in order for the register changes to work out.
Download:
parts, score, Musescore source, recording by Professor P.

String Quartet op. 76 nr. 2, second movement, J. Haydn

The transcription of this (part of a) string quartet for accordion quartet is trivial, but the arrangement for duo a bit less so. A trio can play the quartet version by combining the 3rd voice with the bass and using a convertor accordion. A duo can play the duo version, the second accordion requiring melody bass. A trio can also play the duo version and use a bass accordion for the left hand of the second accordion.
Download:
parts, score, Musescore3 source quartet, duo score and parts, Musescore3 source duo.

Trumpet Concerto in Es, second movement, J. Haydn

The second movement (Andante) of the Trumpet Concerto in Es by Joseph Haydn is actually written in As (so no, I did not transpose it). It should be played very "cantabile". The arrangement is for quintet or orchestra. (There are some "div." indications which obviously do not apply to a quintet.)
Download:
parts, score, Musescore source, recording by Professor P.

Symphony nr. 7, mov. 5: Finale, J. Haydn

The final movement of Symphony no. 7 by Joseph Haydn is a very light piece that sounds difficult but in reality is not all that hard, especially when using piano accordions to play this arrangement. (It is in C major and all seemingly difficult long runs use almost only white keys and are mostly scales, which everyone has practiced at nauseam. The original has 11 parts, but the arrangement has reduced this to 6, requiring just a sextet, but preferably a larger ensemble.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Symphony no. 49, mov. 3: Menuet and Trio, J. Haydn

The third movement of Symphony no. 49 by Joseph Haydn is a nice Menuet and Trio. It is not difficult. The arrangement is written in 5 parts but it is best to use "diviso" where possible, in a larger ensemble, as it is both easier and sounds better.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Symphony no. 83 (La Poule), mov. 4: Finale, J. Haydn

The final movement of Symphony no. 83 (La Poule) by Joseph Haydn is a cheerful composition in which you can easily imagine "picking hens". The arrangement for accordion quintet is moderately difficult. It does not require large accordions, nor does it require frequent register changes (the only register changes are in the bass part, but these can of course be omitted when using a bass accordion without registers). There is one spot where someone needs to play a long high D in addition to the normal notes. This can be done on melody bass, but in an orchestra diviso is possible to play this note.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Symphony no. 84, mov. 3: Menuet, J. Haydn

The third movement of Symphony no. 84 by Joseph Haydn is a nice Menuet and Trio. It is not difficult at all, but care has to be taken to play the many occurrences of a sixteenth followed by dotted eight correctly. There are some fast register changes in the first voice (but not in the other voices). The arrangement is for accordion quintet, but can also be played by accordion orchestra.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Symphony no. 85, mov. 2: Romance, J. Haydn

The second movement of Symphony no. 85 by Joseph Haydn is a nice Romance. It is not difficult at all, but care has to be taken to play the series of grace notes correctly. There are a lot of repeats, which makes this movement long and repetitive. The whole movement takes about 7:30 min, but if you omit all repeats it is only about 4 minutes. The arrangement can be played by a quintet without difficulty, but a larger ensemble can use diviso to make it sound better. (For instance, an LMH or 16-8-4 register can be replaced by separating it into LM and MH or 16-8 and 8-4 which emphasizes the M (8) a bit better.
To illustrate what this Romance sounds like
Professor P has made a recording available. Because this work is so long I also cut down the recording by omitting the repeats.
Download: parts, score, Musescore 3 source, recording (full version) by Professor P, recording (abridged version) by Professor P.

Symphony no. 101, mov. 2: Andante, J. Haydn

The second movement (Andante) of the symphony "the Clock" by Joseph Haydn is characterized by 1) the ticking of the clock, which should not run fast or slow anywhere, and 2) the recurring theme that is different each time (except in repeats), either in the melody or in the accompaniment. The arrangement is written for quintet and can be played completely without a need for diviso anywhere. But it is also a nice piece for accordion orchestra, including a Timpani part. Diviso is possible, giving more flexibility to put more stress on some notes that appear in chords. To keep this in 5 parts there are 2 measures in the first and in the fourth voice that require a few chords to be played on (standard) bass side.
The duration of this composition is about 8 minutes. As some accordion ensembles may find this too long there is a repeat that can be omitted and a section of 48 measures (65 to 113). This results in a new duration of just under 5 minutes.
Download:
parts, score, Musescore 3 source, recording (full version) by Professor P, recording (abridged version) by Professor P.

Symphony no. 104, mov. 3: Minuet and Trio, J. Haydn

The third movement (Minuet and Trio) of the symphony "London" by Joseph Haydn lends itself quite well for arrangement for accordion orchestra (including timpani). The arrangement here can be played by quintet by letting the bass take over a few notes of the timpani part. This work is not very difficult. It does not go really fast but does have some longer runs. There is one occurrence of high Bb but that is easily circumvented through a register change, so a 41-key piano accordion suffices.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Happy Birthday Variations

To celebrate the 25th anniversary of his string ensemble Peter Heidrich composed Happy Birthday Variations, consisting of the theme and 14 variations. I made an arrangement of the theme and 7 variations back in 1996 and 25 years later revisesd that (and entered in Musescore). The whole composition take about 20 minutes, but this arrangement only 6. This is of course a happy, festive, composition and arrangement, and it is relatively easy to play with an accordion quintet (or larger ensemble).
While the Happy Birthday theme is in the public domain (world-wide), this "Variations" composition is not (and won't be for a very long time to come).
Download:
parts, score, Musescore 3 source, recording by Professor P.

Очи Чёрные (Schwarze Augen / Dark Eyes), music: F. Hermann

The "traditional" Очи Чёрные (Schwarze Augen / Dark Eyes) was originally just a poem, by the Ukrainian writer Evgeny Grebenka, and later turned into a song by using the melody of the "Hommage-Valse" written by the (originally German) composer Florian Hermann. The song consists of a single simple melody of 16 bars that repeats over and over again (with different lyrics). To turn this into an instrumental piece every arranger adds improvisations and variations, one more extremely difficult than the other... To enable "normal" amateur ensembles to play this an easier arrangement was needed. In this arrangement the melody returns many times, but each time with a different rhythm and with different additions. One of these may even remind you of Libertango... This arrangement was made especially for the quintet ARTE, which always uses a button accordion for the fourth voice. One of the improvisations (near the end) in the fourth voice is only very easy on a button accordion. On piano accordion that could be replaced for instance by a glissando up and down.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Romance from Concerto for two clarinets in E flat major, F.A. Hoffmeister

The Romance from the concerto for two clarinets in E flat major (which itself is a part in B flat major, with an intermezzo in B flat minor) is a very nice but not very well known composition by Franz Anton Hoffmeister (1754-1812). Hoffmeister was better known as a publisher than as a composer. This Romance is easy to play, but the tricky bit is to make the two "clarinet" parts (1a and 1b) sound distinctly different from the other parts (representing "strings" and a touch of "oboe"). So creative registration is very important.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Serenade from String Quartet in F major, R. Hoffstetter

The Serenade (second movement) from the String Quartet in F major by Roman Hoffstetter was long believed to be a composition by Joseph Haydn and is still being referred to as being by Haydn. This is a very simple yet also very beautiful melody. The arrangement for quintet is little more than a transcription, clarifying how to play the ornaments. The arrangement was made first and foremost to create a version for duo: one solo instrument (can be accordion) and then an accordion part with chords and melody bass (representing the second violin, viola and cello parts). In the quintet version the fourth voice and bass are virtually identical, just an octave difference. The duo version can also be used for a trio, and a quartet can just leave out the fourth voice.
Download:
quintet parts, quintet score, quintet Musescore 3 source, duo parts, duo score, duo Musescore 3 source, recording (quintet) by Professor P.

Saint Paul's Suite, G. Holst

Gustav Holst is world famous for his composition "The Planets". But he composed a lot more, among which this Suite, written for Saint Paul's Girls' School in Hammersmith, London, where Holst was the school's music master. The arrangement for accordion orchestra is not very difficult, but as there are many parts that are all condensed into just 5 parts for the quintet arrangement that version is quite a lot more difficult to play. It also requires an accordion going up to high C for the first voice (which can be circumvented in the orchestra version by a switchover between parts 1a and 1b). There are 4 movements: Jig, Ostinato, Intermezzo and Finale (the Dargason). Because of the up-tempo nature and the use of popular songs it sounds more like English/Scottish/Irish music than like classical music.
Download:
orchestra parts, orchestra score, orchestra version, Musescore 3 source, quintet parts, quintet score, quintet version, Musescore 3 source, (quintet) recording by Professor P.

Waltz from Masquerade (Maskerade), A. Khatchaturian

I arranged this famous waltz by Aram Khachaturian for Accordeana in 2014. This arrangement is for accordion orchestra, with 7 accordion parts (plus drums). The parts IIb and IIIb are easier than the other parts, to accommodate an orchestra with wildly varying experience levels. The first voice requires the use of high notes (like on accordions with 45 notes). This work will enter the public domain in 2029 or 2049 depending on your country.
Download:
parts, score, recording by Professor P.

La Précieuse, F. Kreisler

Fritz Kreisler (Austrian/American violinist and composer, 1875 - 1962) wrote several compositions in an older style he liked. His composition "La Précieuse” (The Precious One) is in the style of Louis Couperin (according to Kreisler). Originally written for violin and piano the piano part is rich enough to transform this composition into an arrangement for accordion quintet. It is generally easy to play, and sounds very happy. Note that because this work was published in 1910 and Kreisler died in 1962 this composition is in the public domain everywhere except those countries using the death+70 years rule (like Europe, which has to wait until 2033).
Download:
parts, score, Musescore 3 source, recording by Professor P.

Liebesfreud (3 Old Viennese Dances, nr. 1), F. Kreisler

Fritz Kreisler (Austrian/American composer, 1875 - 1962) wrote a series of three Old Viennese Dances, of which Liebesfreud is nr. 1. Originally written for violin and piano the piano part is rich enough to transform this composition into an arrangement for accordion quintet. It is generally easy to play, and sounds very happy. Note that because this work was published in 1910 and Kreisler died in 1962 this composition is in the public domain everywhere except those countries using the death+70 years rule (like Europe, which has to wait until 2033).
Download:
parts, score, Musescore 3 source, recording by Professor P.

Liebesleid (3 Old Viennese Dances, nr. 2), F. Kreisler

Fritz Kreisler (Austrian/American composer, 1875 - 1962) wrote a series of three Old Viennese Dances, of which Liebesleid is nr. 2. Originally written for violin and piano the piano part is rich enough to transform this composition into an arrangement for accordion quintet. It is generally easy to play, and does not really sound very sad despite its title. Note that because this work was published in 1910 and Kreisler died in 1962 this composition is in the public domain everywhere except those countries using the death+70 years rule (like Europe, which has to wait until 2033).
Download:
parts, score, Musescore 3 source, recording by Professor P.

Schön Rosmarin (3 Old Viennese Dances, nr. 3), F. Kreisler

Fritz Kreisler (Austrian/American composer, 1875 - 1962) wrote a series of three Old Viennese Dances, of which Schön Rosmarin is nr. 3. Originally written for violin and piano the piano part is rich enough to transform this composition into an arrangement for accordion quintet. The first voice is not very easy but the accompaniment is. Note that because this work was published in 1910 and Kreisler died in 1962 this composition is in the public domain everywhere except those countries using the death+70 years rule (like Europe, which has to wait until 2033).
Download:
parts, score, Musescore 3 source, recording by Professor P.

La Vie en Rose, Louiguy / Edith Piaf

In 2015 I made an arrangement of La Vie en Rose, a famous song written by Louiguy (O. Louis Guglielmi) for lyrics by Édith Piaf. The arrangement is based on a performance I heard, by Andrea Bocelli. The arrangement was made in 2015 for the accordion quintet ARTE and a recording can be found on the CD "Van ARTE". The song and the arrangement are very easy to play.
Download:
parts, score.

Olé Guapa, A. Malando

This famous tango was revived by Danny Malando's orchestra. The arrangement for accordion orchestra is based on Danny Malando's interpretation. This is moderately difficult. This work will enter the public domain on January 1, 2031 or 2051 depending on your country.
Download:
parts, score, live recording by Accordeana.

Myrna, R. Di Marino

Roberto Di Marino is an Italian composer (born in 1956). He gave permission to make an arrangement of his composition Myrna, originally written for bandoneon and strings, and later arranged (by him) for accordion and orchestra. To capture most of the accordion and orchestra version an arrangement for sextet was needed, but with minor omissions a version for quintet was also possible. Both arrangements are available here. The arrangement is rather difficult and contains a lot of bellow shake. The repeated chords are too fast to just repeat the notes, so bellow shake was inevitable.
Download:
sextet parts, sextet score, Musescore 3 sextet source, quintet parts, quintet score, Musescore 3 quintet source, sextet recording by Professor P.

Oboe Concerto (2), A. Marcello

This adagio from Alessandro Marcello requires a solo first voice and a solo continuo (fifth) voice. It is well suited for a sextet. A combined second+third voice is included to make it suitable for a quintet. There is no percussion part.
Download:
parts, score, live recording by Avanti.

Cent Mille Chansons, E. Marnay & M. Magne

Rogier van Otterloo created an orchestral version of this popular song, by Eddy Marnay (lyrics) and Michel Magne (music). The accordion orchestra (or quintet) version is an arrangement of that.
Download:
parts, score, recording by ProfessorP. .

España Cañí, P. Marquina

España Cañí is the most famous composition by Pascual Marquina Narro and has always been associated with bull fights (even though the title refers to a spanish gypsy, no bull fight. The arrangement is for quintet. Not as difficult to play as it sounds. I have added a duo version. The first voice of this version can be used (as it has basses written out) to enable a trio to play this piece. There is also a 4+bass file that can be used by a quartet wanting to play this piece.
Note that the composer died on July 13, 1948, so this composition has entered the public domain on January 1, 2019 and can thus be performed without paying royalties to any rights collecting body. (The USA has different rules, but a composition from 1923 should be safe there too.)
Download:
parts, score, Musescore source, duo version, Musescore source for duo, 4+bass part, recording by Professor P.

Plaisir d' Amour, J.P.E. Martini

The well-known song Plaisir d' Amour by Jean-Paul-Égide Martini (French Composer) lends itself quite well for an arrangement for accordion ensemble. This accordion quintet arrangement is based on an orchestration made by Hector Berlioz. It is relatively easy to play, but has a short part with 6 flats, which might not be so easy to read.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Intermezzo from Cavalleria Rusticana, P. Mascagni

The Intermezzo is the best known movement from Cavalleria Rusticana by Pietro Mascagni. The arrangement for duo is not all that easy to play (uses melody bass on one accordion and chords (without base notes) on the other one), but the quintet version is easy.
Download:
parts, score, Musescore source, duo version, Musescore duo source, recording by Professor P.

Meditation (from Thaïs), J. Massenet

This most well-known part from Thaïs has been arranged for quintet plus optional timpani. It is best if the second voice has a low E, but the arrangement shows how the third voice can compensate for that. There are some basses in the third voice (can only be done on the keyboard of very large button accordions). The first voice corresponds to the violin and second and third are harp parts. Be careful to not overpower the first voice.
Download:
parts, score, duo version, MuseScore source, MuseScore duo source, recording by Professor P. .

Auf Flügeln des Gesanges, F. Mendelssohn

The song "Auf Flügeln des Gesanges" by Felix Mendelssohn-Bartholdy is number 2 of 6 songs opus 34. The arrangement for accordion quintet is very easy to play. The third voice contains a few elements from an early (19th century) arrangement for "Salonorchester" by August Cranz. (Normally this song is just voice and piano accompaniment.)
Download:
parts, score, Musescore 3 source, recording by Professor P.

Chanson de Printemps (Frühlingslied), F. Mendelssohn

The last song from the Lieder ohne Worte, opus 62, by Felix Mendelssohn Bartholdy is called "Frühlingslied" or "Chanson de Printemps" or "Spring Song". It is originally written for piano solo which makes it a challenge to replicate it on the accordion. The bass notes should all decay and the chords in the second and third voice were originally grace notes preceding the main note, but by use of the pedal on the piano they sound like arpeggio chords, except that the last note of the arpeggio is the main note and should be on the beat and should be the loudest of the whole chord. The arrangement is for quartet (3 accordions plus bass).
Download:
parts, score, Musescore source, recording by Professor P.

Violin Concerto opus 64 (2), F. Mendelssohn

The second movement "Andante" is the best-known part of the Violin Concerto opus 64 by Felix Mendelssohn Bartholdy. The notes are not difficult, but when played a bit freely it's hard to synchronize the five voices (without conductor). The first voice requires a high C (although that can be circumvented).
Download:
parts, score, Musescore source, recording by Professor P.

Czardas, V. Monti

The famous Czardas has been performed on accordion, solo, by many artists. But as it is a piece for violin solo and orchestra it is also very suitable as an orchestra piece. The arrangement is for accordion orchestra, with timpani for percussion (but it can also be played without percussion). There are just the standard 4 voices plus bass but diviso suggests it is easier to do with a larger group (although the solo obviously never becomes easy).
Download:
parts, score, Musescore source, recording by Professor P.

Gabriel's Oboe, E. Morricone

This beautiful piece from the soundtrack of the movie The Mission requires almost no technical skill but requires the utmost in musical talent to make it sound perfect. The arrangement is for quintet. There is a drums part but the arrangement can be played without drums as well.
As Morricone died in 2020, this piece will enter the public domain in some countries on Jan. 1st, 2071 and in other countried 2091. (USA is always still different.)
Download:
parts, score, recording by ARTE.

Haffner Serenade KV250, Menuet, W.A. Mozart

This small piece by Mozart is a "minor" version of a popular song in Belgium and the Netherlands, for "Sinterklaas". It is quite easy and has no percussion part.
Download:
parts, score, recording by Professor P.

Piano Concerto nr. 21 (2), kv 467, W.A. Mozart

The second movement (Andante) of the Piano Concerto nr. 21 by Wolfgang Amadeus Mozart is best known as the music of the movie Elvira Madigan (1967) The arrangement is for accordion quintet, but also very suitable for a larger ensemble, to allow for diviso. There is no percussion part.
Download:
parts, score, Musescore3 source, recording by Professor P.

Symphony nr 25 (kv183), W.A. Mozart

This is a challenging piece with large jumps and a lot of repetitive notes, with and without bellows shake. There is no percussion part.
Download:
parts, score, live recording by Avanti.

Violin Concerto nr. 1, mov. 1 (kv207), W.A. Mozart

The first movement (Allegro moderato) of the violin concerto nr. 1 by Mozart is very suitable for accordion orchestra (with a virtuoso soloist). Originally this is for a string ensemble (with soloist) plus at least 2 oboes and 2 horns (in B) for a total of at least 10 players. The arrangement consists of a solo part and then 3 regular accordion parts and bass, but it is advisable to use at least 2 players in each voice (except the solo).
The solo (first voice) requires an accordion with high C. All other voices can be played with accordions with 37 notes or more. It is best to use a button accordion for the solo because of large jumps (which are much less of a "jump" on a violin than on an accordion).
Download:
parts, score, MuseScore source, recording by Professor P.

Rondo Concertant (kv269), W.A. Mozart

This is a relative straightforward arrangement of this rondo for violin and ensemble (oboes, horns and strings) to accordion quintet. There are solo and tutti parts making it suitable for accordion orchestra, but there is a lot of solo...
Download: parts, score, MuseScore source, recording by Professor P.

Horn Concerto nr. 2 (kv 417), mov. 3: Rondo, W.A. Mozart

This up-tempo piece by Mozart has a solo for "horn", played on the bassoon (L or 16') register, which should be very responsive. Other parts in this accordion orchestra arrangement have "solo" and "tutti" parts, but (if you can switch registers fast) they can be played completely solo, and then you need just 6 or 7 players (but a larger orchestra is better).
Download: parts, score, Musescore 3 source, recording by Professor P.

Horn Concerto nr. 4 (kv 495), mov. 3: Rondo, W.A. Mozart

This up-tempo piece by Mozart has a solo for "Horn", played on the LH or (16-4) register (or just 16 if 16-4 is too sharp). The arrangement can be played by a quintet, but by using diviso and orchestra can play it with somewhat less difficulty. The first voice is just the horn part (so it could be played with a horn solo after transposition). The other parts are mostly strings, but an oboe is sometimes inserted in the second voice and sometimes in the fourth voice, in order to keep everything within five voices.
There are some small deviations from available scores where it sounds better on the accordion. There is also a small section that appears in some scores and not in others. And there is a short "cadenza" to be filled in by the soloist. (An example is provided.)
Download: parts, score, Musescore 3 source, recording by Professor P.

Eine Kleine Nachtmusik (kv 525), W.A. Mozart

Eine Kleine Nachtmusik is one of Mozart's "greatest hits". It is written for a quintet consisting of two violins, a viola, cello and double base. The arrangement for accordion quintet closely follows the original but contains many performance hints and also hints on how to cope with "small" accordions for the fourth voice (accordions without the lowest notes used by the cello).
There are four movements, but often only the first movement is performed (as all four movements together last for close to 20 minutes).
Download:
parts, score, Musescore 3 source, recording by Professor P.

Violin Concerto nr. 4, mov. 3: Rondeau, W.A. Mozart

The violin concerto nr. 4 is for strings (with solo) and oboes and horns, and is suitable for accordion sextet or orchestra. Movement 3 seems most suitable and is only moderately difficult (except for the more difficult solo).
Download:
parts, score, Musescore 3 source, recording by Professor P.

Adagio from Clarinet Concerto (kv622), W.A. Mozart

This Adagio is well-known from the movie Out of Africa, and with a slightly different rhythm it is also known as the song "Stay with me till the morning" from "The Young Amadeus", and it has been used by Dana Winner as the song "Hopeloos".
Note that this Concerto was originally written for basset-clarinet, which goes a bit lower than a normal clarinet. Publishers later changed the composition into one for clarinet, because that is a more popular instrument. This arrangement goes back to the basset-clarinet, meaning lower than wat can be done on a clarinet. There is an improvised piece, of which an example is included that resembles what is played by Martin Fröst.
Download:
parts, score, Capella source (zip), recording by Professor P.

Concert Samba, Borys Myronchuk

Borys Myronchuk composed three Latin bayan-solo pieces: a samba, bossa nova and rumba. This arrangement for quintet is of the samba. It is a virtuoso piece, with difficult melodies, chords and rhythm.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Love Waltz (Kärleksvals), Ulrik Neumann

Ulrik Neumann (1918-1994) was a guitar player of many talents (including playing a musical clown). The "Love Waltz" is a composition for guitar solo, but inspired by an accordion duo performance by Maria and Sergei Teleshev I made an arrangement for accordion quintet (that includes Teleshev's intro). This composition has just two short melodies, and is made interesting by means of variations in the added chords and melodies and by using different registers.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Dank sei dir Herr, Siegfried Ochs

The religious song "Dank sei dir Herr" can very often be found with as composer Georg Friedrich Händel. However, it was first performed in the nineteenth century, and written by Siegfried Ochs (1858-1929), completely in the style of Handel. (No manuscript by Handel containing this song was ever found so it is now more widely accepted that it really is a composition by Siegfried Ochs. The arrangement for accordion quintet is easy to play. The first voice represents a solo singer, the second voice the right hand of the organ player and the third voice the left hand. (The bass is obviously normally played by the feet but in the arrangement it's the bass accordion.) The fourth voice is an "improvised" continuo melody to liven things up a bit.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Introspection II, Rogier van Otterloo

Decades ago Thijs van Leer made 4 "Introspection" records. The title song of the second record, "Introspection II", composed by Rogier van Otterloo, is a very nice dreamy song. The arrangement is for accordion quintet, possible with soft drums. Note that while the arrangement is available under the Creative Commons License the composition is still under copyright until Januari 1, 2039 in some countries and 2059 in other countries.
Download:
parts, score, Musescore source, recording by Professor P.

Rondo Rogier van Otterloo

Decades ago Thijs van Leer made 4 "Introspection" records. Rondo, composed by Rogier van Otterloo, is a very nice upbeat song from the first record. The arrangement is for accordion quintet, possible with soft drums and some sing along by female voices. Note that while the arrangement is available under the Creative Commons License the composition is still under copyright until Januari 1, 2039 in some countries and 2059 in other countries.
Download:
parts, score, Musescore source, recording by Professor P.

Turks Fruit (Turkish Delight), Rogier van Otterloo

This is a rare arrangement I made for solo accordion. It is a combination of two songs from the Dutch movie "Turks Fruit", music by the brilliant dutch composer Rogier van Otterloo. This arrangement is an excellent exercise for the left hand (lots of combined chords). It does not require an instrument with very large range, but it does require fairly large bellows.
Download:
score, recording by myself. In this recording you can sometimes hear that it is challanging to control air consumption and bellow direction changes so that you never run out of air.

Kanon, Johann Pachelbel

This is the famous Kanon by Pachelbel, arranged for quintet. For the best sound the first three parts should be played with different types of accordion in order to have some variation in timbre. There is a separate fourth+bass pdf to make it possible for a quartet to play this.
Download:
parts, score, fourth plus bass, MuseScore source, recording by Professor P.

Menuet in G, Ignacy Jan Paderewski

Ignacy Jan Paderewski was not only a gifted Polish pianist and composer but also a politician. He was prime minister and foreign minister and signed the Treaty of Versailles which ended World War 1. The first of 6 humoresques for piano solo is one of his best known compositions. It mostly sounds simple, but it uses almost all of the range of the piano keyboard. It took some creativity to make it possible to play this piece (minus a few notes you will hopefully not miss) using an accordion with at least 61 notes (low G to high G). The arrangement tries to make it possible to play this work using smaller accordions, by means of different voices using different registers. That does not make it easier to play (because the voices need to be synchronized).
Download:
parts, score, MuseScore 3 source, recording by Professor P.

Se tu m'ami, Alessandro Parisotti

Parisotti edited a collection of songs known as Arie antiche. He attributed the song "Se tu m'ami" to Giovanni Battista Pergolesi, but no earlier manuscript was ever found. It is now believed that Parisotti is the real composer. The song is originally for voice and piano, and has been arranged for accordion quartet: three accordions plus bass accordion. (As the bass does not go very low it could also be played on a bayan or on the melody bass of a convertor accordion.)
Download:
parts, score, Musescore3 source, recording by Professor P.

Stabat Mater, Giovanni Battista Pergolesi

Stabat Mater is a poem from the middle ages (of unknown author), about Saint Mary's sorrow after the crucifixion of Jesus. Different composers have written music for this poem including Josquin des Prez, Palestrina, Pergolesi and Haydn. This arrangement is of the music by Giovanni Battista Pergolesi, originally for two voices (with the lyrics), strings and continuo. The first two voices in the arrangement represent the violins and singers. Other strings are in the third voice and bass, and the fourth voice is a continuo.
Download:
parts, score, Musescore3 source, recording by Professor P.

Parisian Waltz, Yuri Peshkov

This is a fast waltz, French style despite having a Russian composer. Not a common tune but it sticks in your head almost immediately. Only requires accordions with 41 notes. Standard quintet with 4 accordions plus bass accordion, or a quartet with 4 accordions (by combining the 4th+bass parts).
Download:
parts, score.

Adios Nonino, Astor Piazzolla

There are many arrangements of Adios Nonino, but the population of the Netherlands was completely baffled and moved by Carel Kraayenhof's performance at the wedding of Willem-Alexander and Maxima (currently King and Queen of the Netherlands). I made an arrangement for accordion orchestra that stays close to that arrangement by Kraayenhof, and therefore I am not making this arrangement available for download. But if you are interested in performing it, please get in touch through email. I also adapted the arrangement for accordion quintet.
To illustrate what this arrangement sounds like
Professor P made a recording available on YouTube.

Chiquilin de Bachin, Astor Piazzolla

This is a relatively easy piece, but needs to be played freely and dynamically or otherwise it may sound boring.
A recording of this arrangement can be found on the CD "Van ARTE".
Download:
parts, score.

Libertango, Astor Piazzolla

Every orchestra needs their own arrangement of Libertango, to keep every new performance really new. In 2014 I arranged Libertango for Accordeana. The arrangement is for accordion orchestra, with voices 2b and 3b for players with less experience than the other voices.
Download:
parts, score, recording (with shortened intro, and without drums) by Professor P.

Milonga del Angel, Astor Piazzolla

The arrangement of this famous tango is best played by a small orchestra that has some button accordion(s) to go low enough and 45 note accordions to go high enough.
This piece can also be played by quintet by omitting the fifth voice and drums. A quintet recording can be found on the CD "Van ARTE".
Download:
parts, score, recording by Professor P, live recording by Avanti.

Primavera Portena, Astor Piazzolla

The arrangement of this famous tango is best played by a small orchestra that has some button accordion(s) to go low enough, and 45 note accordions to go high enough. The arrangement contains a drums part but the original does not. There is some percussion on the instruments (accordions) though.
A recording is available on the CD "Van ARTE" (without drums).
Download:
parts, score, recording by Professor P.

Les Biches, mov. 4: Andantino, Francis Poulenc

Les Biches is a one-act ballet to music by Francis Poulenc. From the ballet he extracted a five movement suite. The arrangement is of movement 4: Andantino. Literally the title means "The Does" (female deer) but the term is sometimes also used to indicate women with dubious sexual intentions. The composition uses many different instruments, alternating quickly, and this is reflected in the arrangement for accordion orchestra which not only contains seven accordion parts but also requires fast register changes, potentially requiring diviso such that in the same voice one player can omit a few notes before and another a few notes after a register change. As this is Poulenc, classical harmony does not really apply: there are dissonances, parallel fifths and many other "forbidden" recipes that are used... Still, it never really becomes a cacophony. Despite what it may sound like at times this is moderately easy to play (after studying the many accidentals). Part 1B has an all-white-key glissando so this requires a piano-accordion.
Note that as Poulenc died in 1963 this work is in the public domain in countries like Canada, but Europe has to wait until 2034. (The ballet dates back to 1924, making this work public domain in the USA, but the situation is not entirely clear as the suite was extracted and revised and published in 1948, but the copyright was not renewed.)
Download:
parts, score, Musescore 3 source, recording by Professor P.

La Gioconda, Danza delle ore (Dance of the hours), Amilcare Ponchielli

The Dance of the hours is probably the best known part of the opera La Gioconda by Amilcare Ponchielli. The parts about sunrise, day, evening and night flow into each other seamlessly. The arrangement for accordion quintet or orchestra plus "Campanelli a tastieri" ("Glockenspiel"). Any melodic instrument with bell-like sound can be used for this, for instance chimes, a celesta (or keyboard with chimes or celesta sound selected). Although there are just 4 accordion parts plus bass and chimes it is best played by a larger ensemble for a more massive sound. Note that the original contains more percussion, but the bells are the only thing really necessary, the rest is best left out (as percussion easily overpowers the accordions).
The Dance of the hours takes about nine and a half minutes, but it has been shortened to just over six minutes in a way that unless you know the original very well you probably won't miss the parts that are left out.
Download:
parts, score, Musescore source, recording by Professor P.

Symphony nr. 1, mov. 2 and 3, Sergey Prokofiev

Sergey Prokofiev was a Russian composer, pianist and conductor, known for virtuoso and dissonant music. His first symphony has a very difficult first and fourth movement, but the more popular second and third movements are not that hard and suitable for accordion orchestra. The arrangement can be played by sextet, but is more suited for a larger orchestra, to allow for diviso. The two movements are available separately.
Download:
parts mov. 2, score mov. 2, Musescore 3 source mov. 2, recording mov. 2 by Professor P,
parts mov. 3, score mov. 3, Musescore 3 source mov. 3, recording mov. 3 by Professor P.

Rondeau from the Abdelazer Suite, Henry Purcell

This is the short and famous "Rondeau" by Purcell. The arrangement is for accordion quintet, but the fourth voice (the continuo) can also be omitted in order to play it with a quartet. There is also a transcription for two accordions (second one with melody bass). This misses the continuo, so that can be taken from the other arrangement when playing with 3 accordions. A quartet can also take the right hand from the duo arrangement to play 1, 2-3, 4 and bass, but a more advanced quartet can use the 2+3 part to play 1, 2+3, 4, bass.
Download:
parts, score, Musescore source, duo, Musescore source duo, recording by Professor P.

The Fairy Queen: Chaconne, Dance of Chinese Man and Woman, H. Purcell

The Fairy Queen is a semi-opera (music alternates with spoken dialog) by Henry Purcell. The Chaconne or Dance of Chinese Man and Woman appears at the end of the semi-opera. It is written for strings and continuo. The arrangement for accordion quintet is straightforward except for filling in the continuo part. The first voice and bass are rather difficult but the other voices are easy.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Pavane Pour Une Infante Défunte, Maurice Ravel

This Pavane (slow Spanish dance) written for "small orchestra" was a real challenge to reduce to 5 voices. It is possible to play this with a quintet (preferably with some button accordions) but is better suited for larger accordion orchestra (so "diviso" can actually be done and register switches become easier). It is somewhat modern (violates classical harmony rules) but still sounds quite harmonious.
Download:
parts, score, Musescore source, recording by Professor P.

Antiche Danze ed Arie, Suite II, nr. 4: Bergamasca, Ottorino Respighi

Ottorino Respighi is best known for orchestration of previously composed work. The same holds true for the "Antiche Danze ed Arie", some of which are of unknown origin. From the Suite II movement IV has been arranged for accordion orchtestra, including timpani. This movement: Bergamasca, is based on a melody of unknown origin probably from around 1650. This piece is written as if it can be done with a quintet (without timpani obviously) but the arrangement does ask for "diviso" to improve the sound of individual notes, and it has fast register switches. The arrangement uses some low and high notes that are not present on small accordions. There are some hints on how to get around this.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Antiche Danze ed Arie, Suite III, nr. 1: Italiana, Ottorino Respighi

Ottorino Respighi is best known for orchestration of previously composed work. The same holds true for the "Antiche Danze ed Arie", some of which are of unknown origin. From the Suite III movement I has been arranged for accordion quintet. It is called Italiana but the origin is unknown, probably dating back to the end of the 16th century. This piece is not quite as easy as it looks because of large jumps in the fourth voice (and a bit in the third). In the arrangement a bit of creativity was needed to get the cello part to come out because the cello goes lower than a (piano) accordion, but also higher than a bass accordion.
This composition was first published in 1932, so it will enter the public domain in the USA on Jan. 1, 2028. In the rest of the world it is already in the public domain (as Respighi died in 1936).
Download:
parts, score, Musescore 3 source, recording by Professor P.

Concierto de Aranjuez, Joaquin Rodrigo

This composition with solo for guitar is a real challenge to play on the accordion. I made an arrangement of the best known part (the slow part) of which I have a live recording on YouTube played by Avanti and a CD recording by ARTE as well. I made this arrangement available many years ago but on August 14, 2013 I received a notification of copyright infringement (a "take-down request") from Schott Music GmbH. So alas I cannot make this arrangement available for download. But if you are interested in performing this arrangement before 2050 or 2070 (depending on your country) I may be able to give you a "hint".

La Danza, Gioachino Rossini / Ottorino Respighi

La Danza is a famous tarantella by Rossini. Respighi made a version for orchestra as part of "La Boutique Fantastique". The arrangement is for large accordion orchestra. (There are 8 accordion parts, two keyboard/electronium parts, bass and drums, including tambourine, triangle, castanets, timpani.) The arrangement was originally made for the Dutch Symphonic Accordion Orchestra (NSAO) and was performed together with the Akkordeon Orchester Dinslaken Oberhausen (Germany). (Alas, no recording of that performance.)
Download:
parts, score.

Sonata for Strings, nr. 1, mov. 3, G. Rossini

Gioachino Rossini has composed much more than the (comic) operas he is known for. He wrote for instance a series of sonatos for strings. The arrangement for accordion quartet (3 accordions plus bass accordion) of the third movement of the first string sonata is pretty straightforward (as the original is also for quartet). This is a very happy sounding piece, with challenging fast runs in the first and second voice. It sounds best if the accordions used for these two voices have a clearly different sound (both played in LM or 8-4 register).
Download:
parts, score, Musescore 3 source, recording by Professor P.

Melody in F, Anton Rubinstein

From "Deux Mélodies pour piano" by Anton Rubinstein the first is by far the most popular. It is simple, yet in some places a challenge to transcribe from piano to accordion (no sustain pedal...). The arrangement is for quintet, but the first and second voice are mostly identical, so with a bit of effort a quartet could also play this.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Concerto pour une voix, Saint-Preux

This is a famous piece for one voice and piano or orchestra, by the French composer Saint-Preux (still alive today, so definitely not in the public domain). The arrangement is for accordion quintet but quite challenging due to jumps. With accordion orchestra it is much easier. (The voice is played on accordion with tremolo register.)
There is also a version for two accordions that tries to keep as much as possible from the quintet arrangement.
Download:
parts, score, MuseScore source, duo parts, duo score, duo MuseScore source, recording (quintet) by Professor P.

Divertissement, Saint-Preux

From the album "Concerto pour une voix" by the French composer Saint-Preux this Divertissement is a short, uplifting and not too difficult intermezzo. The arrangement for accordion quintet uses registers and legato/leggiero/pizzicato differences to mimic having strings, piano and flute.
Download:
parts, score, MuseScore source, recording by Professor P.

Danse Macabre, C. Saint-Saëns

This very difficult piece is one of the best known by Saint-Saëns. It requires using either standard or melody basses on occasion. Other arrangements for accordion orchestra exist. This arrangement tries to stay as close to the original as possible. There are two versions: one with 4 parts + basson + drums and one with 5 parts + basson + drums.
Download:
quintet parts, full quintet score, sextet parts, full sextet score, recording by Professor P, live (sextet) recording by Avanti.

Le Cygne (The Swan), from Carnaval des Animaux, C. Saint-Saëns

This is a not so difficult well-known piece by Saint-Saëns. To play it well you need some larger accordions (second voice really requires high B but it's better to have the even higher E, and to play the third voice well you need a large button accordion.
I also made a duo version which obviously does not include all the notes that are in the quintet version, but it is playable and should be fine if the bass side does not overpower the treble side.
Download:
parts, score, MuseScore source, duo version, MuseScore source duo.

Concerto a 9 in G minor, mov. 1: Allegro, J.C. Schickhardt

The "Concerto a 9" by Johann Christian Schickhardt (not so well-known German baroque composer, 1682-1762) is written in 9 parts (recorder, 2 oboes, 2 violins, viola, violoncello, double base and continuo). It has "tutti" and "solo" written in the score so that suggests a larger ensemble. (The arrangement does not have tutti/solo.) The arrangement of movement 1 (Allegro) is written in 5 parts and can be played by a quintet although some register changes are easier when the parts can be divided by different players. (The notes themselves should not require any diviso.) In the arrangement there are lots of articulations and ornaments that can be changed at will (as none of them appear in the old handwritten score at my disposal). Registers are indicated to imitate the different instruments. There are hints about how to play this without impossible register changes and without requiring a bayan (64 notes) for the second voice. So everything can be done with just regular 41 note piano accordions if needed.
Download:
parts, score, MuseScore 3 source, recording by Professor P.

Ave Maria, F. Schubert

Schubert's Ave Maria is originally composed for a single voice with accompaniment on piano. Several instrumental arrangements have been made over time. This new arrangement for accordion quintet uses bits from the version for violin and piano by August Wilhelmj. The notes are pretty easy. The challenge is in playing them together with an ensemble and putting emotion into it.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Quintet "Trout", mov. 4: theme with variations, F. Schubert

The piano-quintet "Trout" (Forellenquintett) is named the Trout because of the fourth movement (arranged here) that was initially a separate song called "Die Forelle". This movement (a theme with five variations and a concluding "Andantino") is the best-known part of the quintet. The arrangement is of the entire movement, but depending on what different players can achieve one can leave out some variations. When reduced to theme, var. I, var. IV, var. V and the andantino it is doable for many ensembles.
Download: parts, score, Musescore 3 source, recording by Professor P.

Rosamunde: Balletmusik nr. 2, F. Schubert

Schubert composed music for the play "Rosamunde, Fürstin von Zypern" which ended up not a very successful play, unlike the music, of which the final Ballet is probably the most popular piece. The arrangement for accordion quintet is moderately difficult. There are a lot of register switches to capture the sound of the different instruments in the 10 parts of the original. The arrangement does not require any diviso, but the register switches become easier when there are multiple players per voice. The whole composition is in 2/4 but the last part is then full of triplets. In the arrangement that part is written in 6/8. There are many repeats (to make the piece long enough to fully enjoy the ballet) but for a shorter performance they can simply be omitted.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Scherzo, from String Quartet no. 14, F. Schubert

Schubert's string quartet D810 is called "Der Tod und das Mädchen" because the second movement contains a variation on Schubert's song, based on a poem by Matthias Claudius. This arrangement is of the third movement: Scherzo (and Trio). It is an arrangement for quintet (not quartet) because the cello part goes too low for (small) accordions and too high for the bass accordion. Having a bass part (playing an octave lower) also adds depth to the sound. The arrangement is very difficult for the first voice but not so difficult for the other voices. In a larger ensemble some diviso can be added to avoid very fast large jumps in the first voice.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Ständchen, F. Schubert

Originally this piece is from a series of songs for solo voice and piano. While it would be possible to transcribe this quite literally for a solo instrument and one accordion this would result in a difficult bass side (using melody bass instead of Stradella). The arrangement for DUO makes use of Stradella bass plus chords in the right hand where possible. The arrangement for TRIO can be played by a quartet by using a bass accordion instead of the bass side of accordion 3. The arrangement for QUARTET can be played by a quintet by using a bass accordion instead of the bass side of accordion 4.
Download:
duo version, Musescore3 source duo version, parts trio version, score trio version, Musescore3 source trio version, parts quartet version, score quartet version, Musescore3 source quartet version, recording by Professor P.

Träumerei, nr. 7 from Kinderszenen, Opus 15, R. Schumann

The album "Kinderszenen", Opus 15, by Robert Schumann, contains 13 short pieces for solo piano. The best known of these 13 is nr. 7: Träumerei. The arrangement is for accordion quintet, and looks deceivingly simple. The first voice (the main melody) should be played "rubato" and that makes synchronization between the five voices rather difficult, especially when there is no conductor.
Download:
parts, score, Musescore3 source, recording by Professor P.

Romance (abridged version) from The Gadfly Suite, D. Shostakovich

The "Romance" part from the Gadfly Suite occurs twice in the movie The Gadfly (from 1955) and features as the titlesong of the TV series Reilly. Note that Dmitri Shostakovich wrote a D instead of B in the third bar (and that's repeated a few times later on) and in the movie that D is actually played but later it was probably copied wrong and changed into a B.
The arrangement is for accordion quintet. It can be played by an orchestra but when the first voice is no longer solo it may become a bit less "rubato".
Note that this composition enters the public domain only on January 1, 2026 in some countries (like Canada) and 2046 in other countries (like EU countries).
Download:
parts, score, Musescore3 source, recording by Professor P.

Andante Festivo, J. Sibelius

Jean Sibelius was a Finnish composer who is best known for his work "Finlandia". He also wrote several concertos and other works, including this Andante Festivo, originally for string quartet, and later arranged for string orchestra with timpani. The arrangement is for accordion quintet or orchestra and does contain the timpani part (which is only the last four bars). It can also be performed by a quartet by using the added 4+bass part.
This work is in the public domain in Europe (until 2028) but is in most of the rest of the world.
Download:
parts, score, Musescore 3 source, Musescore 3 source for 4+bass recording by Professor P.

Arietta, A. Skulte

This is an arrangement of the piano solo composition by Adolfs Skulte.
Download:
parts, score, recording by ARTE.

(Trumpet) Voluntary opus 6 nr. 5, J. Stanley

John Stanley (1712-1786) was an English composer and organist. He wrote several sets of voluntaries for organ, some of which have often been played by trumpet and organ, and then called Trumpet Voluntary. The Voluntary opus 6 nr. 5 is one of these, normally using a trumpet register on the organ, but often played using a real trumpet. The arrangement for accordion quintet contains only the most popular part: the Andante Largo. The first voice is the Trumpet part, so this arrangement can be played by trumpet with accordion quartet.
The arrangement is rather easy but it is best to have a high B available in the first voice.
This arrangement uses parts of an arrangement for trumpet and organ by Michel Rondeau.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Die Fledermaus, Ouverture, J. Strauss (jr.)

Die Fledermaus is a (comical) operetta by Johann Strauss junior. The arrangement is of the overture ("Ouverture") and that is a rather difficult piece, containing fragments of different songs from the operetta. The overture is more interesting than the existing "medleys" of songs from the operetta, especially for more advanced ensembles (quintet or larger). The first voice uses a high B (which can be avoided through registration) and the fourth voice uses a few notes best played on melody bass (but also not strictly necessary).
Download:
parts, score, Musescore 3 source, recording by Professor P.

Suite de Pulcinella, Sinfonia (Ouverture), I. Stravinsky

This is an accordion orchestra arrangement (also playable by quintet) of the first movement (Sinfonia) of the Suite de Pulcinella by Igor Stravinsky. This suite is based on much older music that has been (perhaps wrongly) attributed to Giovanni Pergolesi. This work is in the public domain in the USA and all countries that apply the "death plus 50 years" rule. Europe has to wait until 2042.
Download:
parts, score, Musescore source, recording by Professor P.

Concerto in D-dur, mov.3, G.H. Stölzel

Gottfried Heinrich Stölzel should be well-known, but isn't, as the composer of the melody of Bach's famous song "Bist du by Mir". He composed many other things including a few concerti. From his Concerto in D-dur the third movement (Allegro) was arranged for accordion quintet (or larger ensemble, with solo). It is a concerto for Oboe (and strings and continuo) but is also sometimes performed with the solo on Trumpet. The registration in this arrangement is a better imitation of a trumpet than an oboe.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Waltz (from the Snowstorm Suite), G. Sviridov

This is a fast waltz, moderately difficult. Bits in the parts written between parentheses indicate something played by a different voice and should be skipped.
There are two recordings on-line:
live recording by Accordeana (very fast), and a recording by Professor P, in original tempo (198). Neither recording uses drums.
Download: parts, score.

Seagate Overture, J. Swearingen

This piece is originally for wind instruments (and percussion). But with clever use of registers an interesting range of sounds can be obtained from accordions as well. This is moderately difficult.
Download:
parts, score, live recording by Avanti.

Andante Cantabile, String Quartet opus 11, mov. 2, Pyotr Tchaikovsky

Tchaikovsky is best known for "up tempo" music but he did much more than that. From the String Quartet opus 11 the second movement is a very melodious Andante Cantabile. Arranging this for an accordion quartet wasn't very difficult. An optional additional bass part gives this work a nice bit of extra depth. The quartet version is for four accordions (no bass accordion). The lowest note used (in the fourth voice is E). Technically this piece is very easy. The difficulty is in the interpretation and the synchronization between the voices.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Swan Lake (mini-suite), Pyotr Tchaikovsky

The ballet "Swan Lake" is probably the second-most famous ballet by Tchaikovsky (after "The Nutcracker"). It contains many beautiful pieces, of which three were selected (and shortened) to form this mini-suite that takes just over seven minutes to play. The arrangement is intended mainly for accordion orchestra but is written such that it can be played by a quintet as well (without any percussion). Some parts require low and high notes and may also require the use of some melody (or standard) bass. This arrangement requires rather advanced players.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Nocturne Opus 19 nr. 4, Pyotr Tchaikovsky

This Nocturne, originally in C# minor, was arranged for accordion quintet and transposed to D minor, like a public domain version for Cello and orchestra. It is not difficult.
Download:
parts, score, Musescore source.

Valse from Serenade for String Orchestra, Pyotr Tchaikovsky

This part from the Serenade for String Orchestra is a bit unusual as it has melodies in all voices, including the fourth voice which is normally mostly chords.
Download:
parts, score.

Waltz from Sleeping Beauty, Pyotr Tchaikovsky, opus 66a

Sleeping Beauty is a ballet (opus 66) from which the music forms a suite (opus 66a) which contains a famous waltz. Although the arrangement can be played with a quintet it is better suited for accordion orchestra (plus timpani).
Note: I know there are parallel fifths in the accompaniment, but these are present in the original as well.
Download:
parts, score, MuseScore source recording by Professor P.

Sonata for two chalumeaux TWV 43:F2: Vivace, G. Ph. Telemann

Georg Philipp Telemann is the most productive composer of all times (with over 3.000 compositions, more than Bach and Händel together, who lived in the same era).
The fourth (and last) movement of the Sonata for two chalumeaux is a fast but not difficult short piece. The second and third voice represent the two chalumeaux, which are predecessors of the clarinet. This sonata originally has four parts, but in the arrangement a continuo part was added (fourth voice) and there are four bars in which the second voice plays a second violin part (that does not appear in the original as it was written for just one violin).
Download:
parts, score, MuseScore source, recording by Professor P.

Viola Concerto TWV51:G9, 4rd movement (presto), G.Ph. Telemann

Georg Philipp Telemann is the most productive composer of all times (with over 3.000 compositions, more than Bach and Händel together, who lived in the same era).
The fourth (and last) movement of this Viola Concerto is a nice concert work for viola, in which the viola plays high and low. The arrangement is for quintet, only moderately difficult. It nicely illustrates how lovely the low (16') register can sound on the accordion.
Download: parts, score, MuseScore source, recording by Professor P.

Tafelmusik: Concerto for Flute, Violin and Cello, TWV 53:A2, mov. 1, G.Ph. Telemann

Telemann's "Tafelmusik" is a seemingly random collection of concertos. The third concerto is for flute, violin and cello (and other strings and continuo), and from that concerto this arrangement is of the first movement: Largo. This is one of the parts best recognized as being representative of the "tafelmusik". The arrangement is for accordion quintet, and uses a different register (8-8) to distinguish the "flute" from the other instruments. The continuo part floats between the third and fourth voice wherever there was room to do so. Generally this is a fairly easy arrangement, but it does contain quite a number of "ornaments". The "cello" part is to be found in the fourth voice and best played on an accordion that has a very responsive L (16') register.
Download:
parts, score, MuseScore 3 source, recording by Professor P.

Bluesette, J. (Toots) Thielemans

This seemingly easy piece is actually difficult to play right, as a jazz waltz, not a regular waltz. The solo can be played on accordina or harmonica.
The arrangement was first made in 2009 and performed by Avanti. In 2022 some minor corrections and changes were made and the score was converted to Musescore.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Old Friend, J. (Toots) Thielemans

This easy piece has a solo for accordina or harmonica.
I have also created a version for solo plus one accordion.
Download:
score for duo, parts, score, recording by ARTE. The parts also include a 4+bass score so that it can be played by a quartet.

Ave Maria "by Caccini", V. Vavilov

Caccini was a sixteenth-century Italian composer. The composition "Ave Maria" only appeared in 1972 when the Russian guitarist and composer Vladimir Vavilov recorded the song and declared it anonymous. The title "Ave Maria" came later, as well as the (very doubtful) attribution to Caccini. The arrangement for accordion quintet tries to stay close to how Vavilov performed this composition. The notes are easy, but making it sound right (and nice) is not that easy. As Vavilov died in 1973 this composition is in the public domain in "reasonable" countries (such as Canada) but remains under copyright in other areas (like Europe) until 2044.
Download:
parts, score, Musescore 3 source, recording by Professor P.

Fantasia on Greensleeves, R. Vaughan Williams

Greensleeves is an old English ballad, probably dating back to the 16th century, supposedly composed by Henry VIII for his future queen Anne Boleyn. The song became popular in the Netherlands in the version by Mantovani, used in the radio show Candlelight. The work "Fantasia on Greensleeves" appears in act IV of the opera "Sir John in Love", by Ralph Vaughan Williams (1872-1958). It adds a short intro, and an intermezzo in different key and time signature. The arrangement for accordion quintet contains sections with bellow shake and tremolando, making it less easy to play than it may sound. This composition is in the public domain in countries with the reasonable death+50 years rule but is still under copyright in other countries (like EU countries and USA).
Download:
parts, score, MuseScore 3 source, recording by Professor P.

Violin Concerto RV 335(3), A. Vivaldi

This Violin Concerto (also named "The Cuckow") is a very happy sounding piece, with long runs in the first voice (the violin solo), but nice alternating between the first and second voice, and also with the "organo" in the fourth voice. The long runs make it more difficult than it may sound, because these runs just keep going on and on.
Dowload:
parts, score, Musescore 3 source, recording by Professor P.

Concerto RV 440(1), A. Vivaldi

This "Concerto per Flauto, Archi e Cembalo" has a very nice and not too difficult first movement. It has been arranged for quintet (or larger orchestra), and is best played using a bass accordion with register switches (although it can be done without registers).
Download:
parts, score, MuseScore source, recording by Professor P.

Concerto RV 522(1), A. Vivaldi

This piece with some additions made by Bach and some by myself, has been arranged for larger orchestra, with 8 parts (including bass). The parts Ia and Ib are intended to be solo (but that is not mandatory). In all parts the longer rests have been filled in with (small) notes that come from either the Ia or Ib part. The bass also exists without these small notes.
Download:
parts, score, recording by Professor P.

Largo from Lute Concerto RV 93(2), A. Vivaldi

This easy piece has to be played with a lot of musical feeling. It may help to vary registers in the first voice, for more variation.
Download:
parts, score, recording by Professor P.

Le Quattro Stagioni: La Primavera, A. Vivaldi (RV 269)

La Primavera, or the spring season, is generally a happy season from Le Quattro Stagioni by Antonio Vivaldi. The first movement is all about the arrival of spring, with a gentle breeze, birds singing, but there is also a brief thunderstorm (not so happy). In the second movement we are on a flowery meadow with a herd of sleeping goats and a howling dog. The third movement expresses nymphs and shepherds dancing (with a hint of the sound of bagpipes). It is a celebration of spring. The arrangement is for accordion orchestra, consisting of a solo part and then 4 accordion parts and bass, but the accordion parts have solo and tutti sections, so to distinguish clearly between them you need at least 10 players in the orchestra. Warning: this composition is quite difficult (except for the second movement).
Download:
parts, score, Musescore 3 source, recording by Professor P.

Le Quattro Stagioni: Autunno, A. Vivaldi (RV 293)

Autunno, or the autumn (fall) is a very happy season from Le Quattro Stagioni by Antonio Vivaldi. The first movement is all about singing and dancing and drinking (and getting drunk), presumably to celebrate the harvest. In the second movement the drunks are asleep. The third movement expresses a hunting party, chasing prey with dogs and guns and eventually killing the prey and celebrating. The arrangement is for accordion orchestra, consisting of a solo part and then 4 accordion parts and bass, but the accordion parts have solo and tutti sections, so to distinguish clearly between them you need at least 10 players in the orchestra. (Also, some register switches are difficult when a part is played solo.)
Download:
parts, score, Musescore source, recording by Professor P.

Toccata (Symphony nr. 5, opus 42 nr 1), C. Widor

This famous organ piece is still difficult even when divided over 5 accordions. The basson part is best played on a button basson accordion. The arrangement is based on several organ publications, each containing different errors. So it took some effort to create an arrangement without errors. There is no percussion part.
Download:
parts, score, live recording by Avanti.

Schindler's List (theme), J. Williams

This famous film theme is easy but needs to be played with passion. There is no percussion part.
The arrangement I made is based on a commercially available version for string ensemble. As my arrangement is too close to that "for comfort" I am not making my own version available for download.
You can listen to a
recording with violin (by Avanti and Eva Dings) and a recording without violin by Avanti alone. It may be immediately clear that when played with violin solo it is a lot more difficult (for the violin) than it is for just accordions.

Kiss the Rain, Yiruma

Yiruma is a gifted composer and piano player from Korea. Kiss the Rain is one of his best known songs. It was composed in 2003, as a work for piano solo. In 2021 Yiruma reworked the song into an orchestral masterpiece. Many people created scores for piano and for different combinations of instruments of the original piano version. This new arrangement, for accordion quintet, was written down "by ear" (listening to the orchestra performance) and is by no means an attempt to accurately represent the recording by Yiruma and the Korean Symphony Orchestra.
Download:
parts, score, Musescore 3 source, recording by Professor P.