for Flute and Piano-Charles Le Thiére's Maritana Fantasy is a lyrical and dramatic work along the lines of the famous Fantaisies of Paul Taffanel and Francois Borne. It is based on themes from the three-act opera Maritana the first of six operas composed by William Vincent Wallace. The plot which is often cited as the inspiration for Gilbert and Sullivan's comic opera The Yeoman of the Guard tells the story of Don Caesar an imprisoned man who weds a woman while awaiting execution. He escapes to search for his bride in disguise and soon realizes that she is the gypsy street singer he'd first heard in the public square the beautiful Maritana. This exclusive edition has been carefullyedited by Sir James Galway and includes helpful performance and breathing advice from the world-renowned flute artist and teacher.

Niveau Facile - 'Les Classiques De la Flûte'-Pièces Célèbres Pour Flute Et Piano – Vol. 1 is the first volume of an anthology of famous pieces transcribed and adapted by Gaubert Moyse and Caratgé. Part of the collection “Classics for Flute” this volume features twelve easy classical pieces:  - Ballets du Roi 'Ariette en Rondeau' by Lully - Ballets du Roi 'Sarabande et Gavotte' by Lully - Phaeton 'Menuet et Bourrée' by Lully - Sarabande from the D Suite for Cello by J. S. Bach - Petite Marche by Handel -Hiphigénie en Tauride 'Hymne' by Glück - Armide 'échos de la Naïade' by Glück - Don Juan 'Menuet' by Mozart - Cosi Fan Tutte 'Ariette' by Mozart - La Flûte enchantée 'Invocation' by Mozart - Mélodie by Beethoven - Impromptu Op.90 n°3 by Schubert

With Plenty To Chew On-Seven concert pieces including 'Carmina Banana' and other favourites!When I began putting together a few piano pieces back in 2007 I didn't imagine they would quickly spawn a thriving eleven-volume series entitled Eye-Tunes taking players from 'easy' to grade 8 level. Nor did I imagine these might trigger a further five volumes of arrangements for flute and piano two called Creature Comforts (which predictably enough are comprised of animal-inspired pieces) or indeed the three volumes in this current series Flute Pastilles. While it goes without saying that not all pieces conceived for piano will work equally well for the combination of flute andpiano I'm a great believer that a good tune is frequently one which will transcribe easily. I like to think of these cherry-picked arrangements concise though they are as being 'proper' pieces in that they can earn their keep beyond the confines of the practice room or flute lesson. From Book 1 you will find a sprinkling of more thoughtful pieces such as Wind over Goonhilly Forget-Me-Not and Follow the North Star to offset the more jaunty pieces. These in particular call for a little extra attention to tone colour dynamics and phrase-shaping with some awareness of what the piano part is doing too. Think hard about choosing your tempo for each piece as this is a major contributor to musical character and in the faster moving music aim to articulate the rhythms as crisply as you can so that the music can really spring off the page and come to life for your audience.I must acknowledge as before the inestimable contribution to the success of these pieces made by Gillian Poznansky whose suggestions over the appearance of the scores has made such a difference to how the music is likely to be played. She also came up with a fair number of the titles to these pieces and has done them further service by performing them with me to great aplomb on innumerable occasions in far-flung corners of the globe.

Five Easy Pieces for Flute and Piano provides beginner to intermediate flautists with exciting repertoire from five great French composers Bozza Debussy Fauré Ibert and Tomasi. The pieces included in this sublime compilation are Debussy's The Little Negro Fauré's Berceuse from the Dolly Suite The White Donkey by Ibert Tomasi's The Little Corsican Goatherd and Bozza's Dreams of Children. For all beginner to intermediate flautists this delightful collection of pieces is ideal and essential.

Johann Strauss' Train De Plaisir is a Polka arranged here for Flute and Piano accompaniment by Armando Ghidoni.

for Flute and Harpsichord obbligato (Piano)-The B Minor Suite has a special place among the four extant Orchestral suites by Johann Sebastian Bach (BWV 1066-1069) for two reasons: it is the only suite that calls for only one wind instrument and the only one with extensive solo passages for one instrument. Since moreover it is essentially Bach's only composition for solo Flute with Orchestra it enjoys great favour among flutists.A proper string ensemble is not always at one's disposal. Therefore an arrangement {or Flute and Obbligato Harpsichord has been prepared similar to one Bach himself might have written. The aim here has been to do nothing thatBach himself would not have done yet to refrain from doing everything of which he was capable.

Italian Classics Favourite Italian melodies Com­po­si­teur: Diverse, Adap­ta­teur: Zamarin, Arnold Italian culture infects many art forms and perhaps none more so than music. In this album, Arnold Zamarin has arranged, for flute and piano, eleven well-known pieces that simply shout ?ITALY? at you! ?Italian Classics? includes the unforgettable ?O Sole Mio?, ?La Donna è Mobile?, ?Funiculi, Funicula? and Verdi?s ?Chorus of the Hebrew Slaves?. For intermediate players, ?Italian Classics? should complement your repertoire collection just as a glass of Soave accompanies Pasta alla Carbonara. And for antipasto, try Zamarin?s ?Classical Favourites from Russia? for two flutes (and maybe a glass of vodka!)

Written for Flute And Piano in four movements between 1680 and 1730. Edited by Louis Moyse.Professionally Loeillet was first referred to when he moved to London in 1705. By 1707 he was a member of the orchestra at Drury Laneplaying the flute and oboe. By 1709 he had become the principal oboist for the Queen's operatic theatre orchestra. Concerts were often given in this talented musicians home including the English premiere of Corelli's concertigrossi. The transverse flute was popularized in England by Loeillet as well.

Il est probable qu'il composa la Grande Sonate pour Flute á la meme période que las Sonate Pastorale pour Flute donnée á l'occasion des Concerts Promenade de Covent Garden dans les années 1870. La Sonate est pleine de verve de passion et d'esprit et elle possède une richesse mélodique qu'on a comparée á Mendelssohn; elle est si bien écrite pour l'instrument que l'on prend autant de plaisir á la jouer qu'á l'écouter.

Play-Alongs Bekannter Stücke Aus Irland Schottland Wales Dem Cornwall und Der Bretagne-Martin Tourish is an accordionist composer and musicologist from Co. Donegal now based in Dublin. Celtic music is in his blood for his ancestors were noted collectors of dance music manuscripts dating back to the 19th century. With many recordings to his credit he now offers his expertise to performers wishing to explore the rich culture of Irish and other Celtic music on a variety of instruments. ?World Music Celtic? presents material from the Irish Scottish Welsh Cornish and Breton traditions. It makes no great technical demands on the players but Tourish points out that notation of this music is often ?skeletal? hence it is important to gain a knowledge of theindividual traditions in question and naturally he offers plenty of information on performance practice. The collection spans three centuries from the blind bardic harpists of the 18th century to the international performers of the present day. Tourish accepts that this volume can only scratch the surface of a multi-faceted genre but hopes you will see it as a stepping stone to delve deeper into recordings festivals and the very communities whence this music comes. ?World Music Celtic? is available in four formats each with complete recordings and backing tracks on CD: as solo versions for violin flute or saxophone (with piano) and in an ensemble version for two melodic instruments (C Bb or Eb) piano guitar bass and bodhrán.

A collection of classical works for Flute and Piano accompaniment edited by Trevor Wye. Volume Two includes music by Telemann Donjon Vivaldi Chopin Jacob. All of these Flute Solos have been carefully and specificallyselected for their melodic interest. Suitable for players grade 3-4.

Mathias' Sonatina, originally composed in 1953 but revised in 1986, is a slighter yet more approachable work. A considerable amount of straight repetition renders the music easily assimilable. For instance, both main themes in the opening sonata movement are repeated during the exposition; similarly a large stretch of the development consists simply of a transposed version of a previous passage. Only in the third and final movement does the structure become more complex, with the combination of variants of the main themes of the first movement. But such subtleties pale into insignificance when compared with the rhythmic ebullience and good humour of the outer movements, and the suave, urbane lyricism of the central Andante. If the listener is entertained agreeably, the Sonatina has done its job well. © Trevor Bray