Wolfgang Amadeus Mozart's (1756-1791) Flute Concerto in G was written by the composer in 1778. The Concerto remains widely studied and performed on the Flute making it one of the most important Concerti in the instrument's repertoire. Concerto in G is in three movements; 1. Allegro maestoso 2. Adagio ma non troppo and 3. Rondo: Tempo di Menuetto. The first and last movements are in the tonic key whilst the second movement is in the subdominant key of D major. A Dutch flautist of the time Ferdinand de Jean commissioned Mozart for four Flute quartets and three Flute concerti. However thecomposer who famously disliked the Flute only completed three quartets and two concertos. Instead of composing a second concerto Mozart rearranged his Oboe Concerto with substantial changes for it to fit with the Flute. This edition of Mozart's Concerto in G includes cadences by virtuosos Taffanel Gaubert and Bozza making for an unmissable version of the famed work.

André Jolivet (1905-1974) composed this Concerto for Flute and Strings in 1949. Initially written for Flute and String Orchestra this version contains the scores for the Flute and the Piano and lasts 12 minutes. This strong>Concerto for Flute and Strings is quite unusual as it was only created in two movements each divided into a slow introduction and a fast main part. Used as one of the main pieces of the Geneva music contest “Concours de Genève” in 2014 this concerto requires advanced skills. André Jolivet is a French composer who was really inspired by theAntiquity and had a strong interest for atonality. He also wrote many chamber music pieces eleven concertos some orchestral and some vocal music.

In a letter dating from 1777 Mozart reported to his father from Mannheim that Johann Baptist Wendling principal Flautist of the famous Mannheim Orchestra had been approached by a wealthy Dutch businessman by the name of De Jean who was prepared to pay 200 gulden for three easy flute concertos and four flute quartets for his own use. Mozart accepted the commission. By the day before the Dutchman left Mozart had delivered only three of the quartets andtwo concertos for which he had been paid 964 gulden. The composer who was himself being pressed by his father to continue his own journey to Paris with his mother was full of excuses writing back to Salzburg on 14 February 'It is not surprising I have been unable to finish them for I never have a single hour's quiet here...Moreover you know I become quite powerless when I am obliged to write for an instrument I can't stand.' There is more than a hint of disingenuousness in Mozart's words for this was the height of the period during which he was being distracted from his work by his new-found love for the Mannheim singer Aloysia Weber. (He ultimatelymarried her sister Constanze.) If Mozart's dislike of the Flute was as great as he claimed there are few signs in the Flute Concerto No.1 in G major particularly in the expressive central Adagio ma non troppo. The outermovements are an Allegro maestoso and a concluding Rondo: Tempo di Menuetto. The work is scored for two oboes (replaced by flutes in the Adagio) two horns and strings. This Great Performers' Edition is edited byJames Galway.

The Concerto Classics series gives intermediate students the opportunity to explore some of the most important and influential concertos in their instrument's repertoire. This edition for Flute includes concertos by Mozart Vivaldi and Quantz. Each piece has been carefully arranged as a valuable stepping-stone towards the original great works. Also included are supplementary exercises designed to support students with the various technical aspects required in the solo parts.With Pull-out Piano accompaniment.

Mozart was neither a flautist nor a harpist but his Double Concerto has become the best-known music for both these instruments. Now its musical text has been prepared for Henle by the star flautist András Adorján following the autograph score even in those passages where other editions make arbitrary changes. No less a musician than Robert D. Levin has added historically convincing cadenzas as editorial suggestions; the lean and euphoniousPiano reduction was prepared by the experienced arranger Jan Philip Schulze. Our edition is the first to present the Harp part in form of a performance score. This new volume completes Henle?s series of up-to-date urtext editionsof Mozart?s surviving concertos and chamber music with Flute.

Published in 1934 this is one of the most frequently interpreted flute concertos by Jacques Ibert (1890-1962) a neoclassical composer who won the Prix de Rome in 1919. Written for the French flautist Marcel Moyse it is rated as difficult and is composed of three movements: Allegro Andante and Allegro Scherzando. The first Allegro is challenging with a rapid suite of sixteen notes followed by a theme more lyrical. Andante the second movement is lyrical and recalls its suites Escales (1924). Finally Allegro Scherzando reminds us of French drama through its theatricality and can be difficult for the soloist due to itsrhythmic part. Jacques Ibert (1890-1962) also composed many symphonic suites operas and seven orchestras including Angelique (1926) and Divertissement (1930). He also was in charge of the Accadémie de France in the Villa Médicis (Roma) and was later administrator for the Paris Opera.

Riduzione per flauto e pianoforte - revisione di Ginevra Petrucci-Giulio Briccialdi (1818-1881) has been one of the major European flutists of the Nineteenth Century. Praised by coeval critics as ?the first among the living flutists? in a period when virtuosos were reaching extraordinary levels Briccialdi was a unique artist with a quintessentially Romantic personality. His refined activity as a composer is nowadays mostly known thanks to his paraphrases on operatic themes and to his didactic output but it is through his concertos ? a real cornerstone in the instrumental virtuosic repertoire of the 1800s ? that Briccialdi exploits the pinnacle of his opera-influenced style. Briccialdi?s concertos are intended for technically and stylisticallyadvanced performers.

Riduzione per flauto e pianoforte - revisione di Ginevra Petrucci-Giulio Briccialdi (1818-1881) has been one of the major European flutists of the Nineteenth Century. Praised by coeval critics as ?the first among the living flutists? in a period when virtuosos were reaching extraordinary levels Briccialdi was a unique artist with a quintessentially Romantic personality. His refined activity as a composer is nowadays mostly known thanks to his paraphrases on operatic themes and to his didactic output but it is through his concertos ? a real cornerstone in the instrumental virtuosic repertoire of the 1800s ? that Briccialdi exploits the pinnacle of his opera-influenced style. Briccialdi?s concertos are intended for technically and stylisticallyadvanced performers.

Ernesto Köhler's fantastic Flute Concerto Op. 97 actually requires the accompaniment of a large orchestra. The orchestral material is available on hire with Musikverlag Zimmermann. The Concerto is characterized mainly by the high virtuosity. The audience in the early 20th century loved the display of technical possibilities of a musical instrument. Ernesto Köhler himself was regarded as unsurpassed in the clean interpretation of his work and the fine tone he coaxed from the flute. His Concerto was frequently performed by leading soloists in Europe and America in his time.

Strathclyde Concerto No. 6 (Flute Part)-The solo flute here is kept in high profile by the absence from the orchestra not only of other flutes but also of violins and oboes; in addition the trumpets are used sparingly (they do not for instance play in the slowmovement) so that for much of the time the flute is playing against a mellow ensemble of clarinets horns bassoons and low strings. If this is nevertheless one of Davies's most open-spirited pieces that comes partly from theready flights of the soloist partly from its glockenspiel accompaniments in the outer movements (replaced by ticking claves in the Adagio) partly from the dancing character of so much of the music and partly from the harmonicclarity in a light region not far from C minor.Flute part with piano reduction of the orchestral score.

The Flute Concerto in D and the Andante in C written by Mozart in 1778 are two of the most popular works for the flute. This new edition edited by Trevor Wye follows earliest known sources and the flute part is considered an authoratative Urtext edition. Detailed performance suggestions are included with particular guidance to the ornaments and cadenzas.

In Fa Op.X N.5 - Rv 442 F.Vi-1 - Tomo 46 --Vivaldi's Concerto in F RV 433 for Flute Strings and Basso Continuo. Called in both cases 'La tempesta di mare ' the work's opening Allegro has a characteristic thumping unison repeated-note theme with the flute soloist trading short lines in imitation with the orchestral violins in the outer sections and warbling maniacally above the ripieno in the central episodes. The opening closes on a big half cadence and then moves into the quiet central Largo with the flute soloist becalmed in the eye of the storm and haunted by memories and ghosts. The closing Presto opens with a powerful unison theme with the flute soloist performing the first long lyrical lines of the workagainst the thrusting violins and basso continuo.

Par BUFFARDIN PIERRE GABRIEL. This Concerto in F Minor by Pierre Gabriel Buffardin was discovered by Wim Brabants in 2015 at the Saxon State and University Library in Dresden, Germany (Sächsische Landesbibliothek Dresden). In three movements: Allegro assai, Adagio, and Allegro non troppo. This listing is for the Flute and Piano reduction edition. / Date parution : 2022-11-29/ Répertoire / Flûte et Piano