Added based on information received from Deborah Clapp. She adds these details:
Sopranino recorder parts are transposed as for an instrument “in F,” so they should be played with soprano recorder fingerings (everything closed = C) rather than “correct” sopranino notation (everything closed = F).
and:
“Both the clarinet and flute parts are mostly written quite low (for example, majority of clarinet passages are below the break) requiring the assistance of microphones for there to be any hope of hearing them (that also goes for the recorder parts). The arranger attempted to get around this handicap by marking most of the clarinet parts as ‘Turkish’ style. Best I can tell, this means to add ‘buzz’ in the form of heavy vibrato to help such low clarinet parts to be heard amidst the heavy orchestration. A really funny spot literally said ‘35% Turkish.'”
Added based on information received from Deborah Clapp. She adds these details:
Sopranino recorder parts are transposed as for an instrument “in F,” so they should be played with soprano recorder fingerings (everything closed = C) rather than “correct” sopranino notation (everything closed = F).
and:
“Both the clarinet and flute parts are mostly written quite low (for example, majority of clarinet passages are below the break) requiring the assistance of microphones for there to be any hope of hearing them (that also goes for the recorder parts). The arranger attempted to get around this handicap by marking most of the clarinet parts as ‘Turkish’ style. Best I can tell, this means to add ‘buzz’ in the form of heavy vibrato to help such low clarinet parts to be heard amidst the heavy orchestration. A really funny spot literally said ‘35% Turkish.'”