Gustav Holst - Folksongs of Hampshire England . In the early 1900's there was great interest in collecting and preserving the folk songs of England, Scotland, and Ireland. Equipped with their newly invented recording devices, people such as Cecil Sharp, Charles Stanford, Ralph Vaughan Williams, and Gustav Holst would travel into the country-side to record, or notate songs being sung. They would frequently use these songs in their own compositions. Holst's music in particular is filled with those songs and his two suites for band are especially valued by wind bands around the world. This group of four songs was arranged for voice and piano by Holst and set for flute choir by John Gibson. The songs are 1. Young Edwin in the Lowlands Low 2. Bedlam City 3. The Irish Girl 4. Young Reilly. The instrumentation is: Piccolo, Flute 1-3, Alto Flute, Bass Flute, and Contra Bass Flute.

This arrangement of Gershwin?s famous Rhapsody in Blue includes all of the main musical themes from the original piano composition, but carefully arranged to suit this group. It features most of the instruments at various points and is exciting and challenging to play across the whole ensemble. This arrangement has been performed many times and is an impressive concert item. Parts are provided for 2 piccolos, 5 flutes, 2 alto flutes, 1 bass flute plus optional timps, glockenspiel and drum kit.

Danza Sueno is one of many works I have written for flute ensemble. It was a study piece for me writing in a Latin style, inspired by Latin rhythm. My primary influence is the music of Astor Piazzolla, though there are some of my own creative choices that lead to it being more of a ?Dance Dream? than a formal dance. The duration of the piece is about 4:40. It is designed to work with one on a part (no divided parts) or more. This version is for 5 flutes: 3 C flutes, 1 alto, and 1 bass. It does not include any optional percussion, piano, or string parts like the full flute choir version has. 

This arrangement of one of J.S. Bach's most familiar and endearing melodies is idiomatic to the ensemble and takes full advantage of its strengths of tone and instrumental color. The original vocal melody, viola section melody, and bass line are enriched in an ever evolving texture by fresh counterpoint composed by the arranger through realization of Bach's notated figured bass. Optionally, the ensemble can be accompanied by a fully rendered continuo part and will provide a highlight to any of myriad occasions.

Another '60s classic for flute choir.