Par JOLIVET ANDRE. Andre 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. Andre 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./ Répertoire / Flûte Traversière et Piano

Nos. 1-3-The six Flute Sonatas of J.S. Bach fall into two groups of three. In Nos. 1-3 the composer provided a concertante keyboard part where the right hand is as musically important as the flute and bass lines apart from theoccasional passage when he reverts to a figured bass. This edition is has been edited and realised by William Bennett.The solo flute part is also included on a separate insert.

Nos. 4-6-The six Flute Sonatas of J.S. Bach fall into two groups of three. In Nos. 1-3 the composer provided a concertante keyboard part where the right hand is as musically important as the flute and bass lines apart from theoccasional passage when he reverts to a figured bass. Nos. 4-6 however adopt the four-movement pattern favoured for instance by Telemann. This edition is has been edited and realised by William Bennett.The solo flutepart is also included on a separate insert.

Flute teaching material-Arrangements of Traditional Baroque and Classical pieces edited with regard to current concepts of performance practice. Some additional editorial suggestions have been made to assist performers students and examination candidates in developing their own interpretations. Four of the pieces are unaccompanied.This is a delightful collection of pieces for Flute with Piano Accompaniment.The solo flute part is also included on a separate insert.

pour flûte ou violon et piano-Camille Saint-Saëns completed the Romance in D Flat Major on 25 March 1871. If in his concertos for solo instrument and orchestra Saint-Saëns freed himself from the Viennese classical model (reconfiguring it with originality but in the light certainly of the formal experimentations of Schumann and of Biedermeier virtuosity) in the Romance opus 37 and other works of similar form (opus 27 36 and 48) he adopted the Romantic ternary Liedform (A–B–A) – in particular that of Schumann’s Stücke and Mendelssohn’s Lieder ohne Worte – and transcended the idiomaticity of the respective solo instruments nowinterchangeable ad libitum (Flute or Violin in the case of opus 37) thereby making the pieces more widely usable and emphasizing their cantabile quality.

Guy-Claude Luypaerts's first volume in the series De La Flûte which provides exciting pieces for Flute and Piano or accompanying CD. Ensuring that teachers and students are able to find adequate melodic and technical pieces the De La Flûte series covers all styles necessary for auditions or competitions. Parisian composer and flautist Luypaerts (b. 1949) has written notable concertos and works for the instrument some of which have been commissioned by the French Culture Ministry and by Radio France. Luypaerts is also a sought after teacher and all his experiences andexpertise combined have lead to the popular De La Flûte series. The first volume contains a variety of inspiring pieces suitable for beginner to intermediate level.

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.

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.

Flute teaching material-Arrangements of Traditonal Baroque and Classical pieces edited with regard to current concepts of performance practice. Some additional editorial suggestions have been made to assist performers students and examination candidates in developing their own interpretations. Four of the pieces are unaccompanied.

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.

5 Selected Songs. Par MAHLER GUSTAV. The only known chamber music by Gustav Mahler is a movement for piano quartet from his student days at the Conservatorium in Vienna (1875-1878). The present new arrangements by Ronald Kornfeil go some way to addressing this gap while they also enrich the repertoire with pieces that are very interesting and demanding in their own right. The composer's rich song output includes his Wunderhorn songs, the Songs of a Wayfarer, the Rückert songs, the Kindertotenlieder (Songs on the Death of Children) as well as movements from his symphonies and the Song of the Earth. This book includes a selection of pieces that best suit the sound of the flute while providing plenty of variety. The arrangements transform Mahler's songs from their original conception for voice and piano or orchestral accompaniment into a purely instrumental dialogue between two equally important instrumentalists. In most cases the colourful orchestral versions provide the starting point. The omission of the text also demands different compositional techniques to bring out the various effects between indulgent sweetness and grotesque irony. The internationally acclaimed flautist, Emmanuel Pahud presents further publications in this new series bringing together selected pieces from the repertoire of famous flautists./ Répertoire / Flûte Traversière et Piano

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.