Huilukonsertto. Par ENGLUND EINAR. Einar Englund?s (1916-1999) Flute Concerto (1985) is beyond dispute one of his greatest works. Its finest attributes are its rich melodic invention, colourful instrumentation and immediate message. Add to these its rewarding solo part, and the result is truly one of his best concertos ? and works. He himself did not hesitate to regard it as such. It was premiered in Helsinki on September 16, 1985, having been completed at Ljugarn on the Swedish island of Gotland at the end of June. The Finnish Radio Symphony Orchestra was conducted by Leif Segerstam, and the soloist was the concerto?s dedicatee, Mikael Helasvuo. The Flute Concerto opens with a Ritornello in which the flute's playful, dance-like passages make sharp contrast with the orchestra's heroic stance. In the mellow Canzona which follows, the flute plays rhapsodically over repetitive orchestral figures. The work's 'action-packed' finale hints at parody in its military march-like opening, but also gives rein to the lyricism already familiar from the second movement. This product includes the solo flute part and the piano reduction. The orchestral study score (composer?s manuscript) is available for sale (product number 9790550117471). The performance material is available for hire from the publisher. Duration: c. 23? Instrumentation of the orchestra: 3(III=picc)222?4330?14?harpsichord( celesta)?hp?str / Date parution : 2022-05-31/ Répertoire / Flûte Traversière et Piano

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.

DOWANI 3 Tempi Play Along is an effective and time-tested method of practicing that offers more than conventional play-long editions. DOWANI 3 Tempi Play Along enables you to learn a work systematically and with accompaniment at different tempi.Thefirst thing you hear on the CD is the concert version in a first-class recording with solo instrument and orchestral continuo or piano accompaniment. Then the piano or harpsichord accompaniment follows in slow and medium tempo for practicepurposes with the solo instrument heard softly in the background at slow tempo. Finally you can play at the original tempo to the accompaniment of an orchestra piano or basso continuo.Allversions appearing on the CD were recorded live by renownedsoloists accompanists and orchestras. There are no synthesised sounds in a DOWANI edition! 1 G. Ph. Telemann (1681-1767): Allegro - 'Der getreue Musikmeister (Polonoise')2 L. Mozart (1719-1787): Allegro ('Children`s Symphony')3 M. Moszkowski (1854-1925): 'Spanischer Tanz' op. 124 E. Grieg (1843-1907): 'Anitras Tanz' - Peer Gynt (Suita No 1)

PAUL WETZGER (1870-1937) was a German flutist composer born in Dahme near Lübeck. At a young age he took violin lessons from the local music director later switching to flute. By 15 years of age Wetzger had played his first concert in the main church of Dahmen and was second flutist of the municipal orchestra. He later became solo flutist with the municipal orchestra of Essen and taught at the Essen conservatory. He wrote numerous pieces for flute and several chamber music works also editing works by the French composer/flutist Jules Demersseman. Wetzger's Am Waldesbach (By the Forest Brook) ideally for flute and orchestra or piano was a staple of celebrated flutistMarcel Moyse recorded by him in 1935 on the French Columbia label. Since then it has become a favorite in the flute teaching repertory perhaps most notably included Toshio Takahashi's famous Suzuki Flute Method. This Southern Music edition faithfully captures this classic piece as performed by living legend of the flute Sir James Galway.

Par GAUBERT. Philippe Gaubert (1879-1941) was a distinguished performer on the Flute. It comes as no surprise, therefore, that his compositions for the instrument are at the forefront of the Flute's repertoire, his Two Sketches being no exception. After a prominent career as a flautist with the Paris Opera, Gaubert was appointed as professor of Flute at the Paris Conservatoire as well as principal conductor of leading orchestras. It was during this time that Gaubert composed, including his Two Sketches for Flute and Piano, which is made up of two movements. The first of these, Night on thePlain, conveys many technical features, including flourishing semiquaver passages, a wide range, lyricism, intervals, chromaticism and complex rhythms. Night on the Plain from Two Sketches is a challenging yet exciting piece for aspiring flautists./ Répertoire / Flûte Traversière et Piano

Philippe Gaubert (1879-1941) was a distinguished performer on the Flute. It comes as no surprise therefore that his compositions for the instrument are at the forefront of the Flute's repertoire his Sonatina being no exception. After a prominent career as a flautist with the Paris Opéra Gaubert was appointed as professor of Flute at the Paris Conservatoire as well as principal conductor of leading orchestras. It was during this time that Gaubert composed including his Sonatina for Flute and Piano which is made up of two movements the second being a homage to Schumann.Addressing many technical features including flourishing semiquaver passages a wide range lyricism intervals chromaticism and complex rhythms Sonatina is a challenging yet riveting and stirring piece for aspiring flautists.

Aria written in 1930 by Jacques Ibert (1890-1962) is a small study initially for Voice and Piano but arranged in this edition for Flute and Piano. This version and the one for Alto Saxophone and Piano are the ones the most commonly used. The Flute score is one-page long and contains technical difficulties that would make it ideal for an upper intermediate player. Its author Jacques Ibert (1890-1962) is a neoclassical composer who won the Prix de Rome in 1919. He composed many symphonic suites operas and seven orchestras including 'Angelique' (1926) and 'Entertainment' (1930). He also was in charge ofthe Accadémie de France in the Villa Médicis (Roma) and was later administrator for the Paris Opera.

Philippe Gaubert (1879-1941) was a distinguished performer on the Flute. It comes as no surprise therefore that his compositions for the instrument are at the forefront of the Flute's repertoire his Deux Esquisses being no exception. After a prominent career as a flautist with the Paris Opéra Gaubert was appointed as professor of Flute at the Paris Conservatoire as well as principal conductor of leading orchestras. It was during this time that Gaubert composed including his Deux Esquisses for Flute and Piano which is made up of two movements. The secondof these Oriental conveys many technical features including flourishing semiquaver passages a wide range lyricism intervals chromaticism and complex rhythms. Oriental from Deux Esquisses is a challenging yet exciting piece for aspiring flautists.

Par GAUBERT. Philippe Gaubert (1879-1941) was a distinguished performer on the Flute. It comes as no surprise, therefore, that his compositions for the instrument are at the forefront of the Flute's repertoire, Sonata No. 3 being no exception. After a prominent career as a flautist with the Paris Opera, he was appointed as professor of Flute at the Paris Conservatoire as well as principal conductor of leading orchestras. It was during this time that Gaubert composed, including his Sonata No. 3, which was published in 1934. Addressing many technical features, including flourishing semiquaver passages, a widerange, emotion, intervals, chromaticism and complex rhythms, Sonata No. 3 is a challenging yet riveting and stirring piece for aspiring flautists./ Répertoire / Flûte Traversière et Piano

Philippe Gaubert (1879-1941) was a distinguished performer on the Flute. It comes as no surprise therefore that his compositions for the instrument are at the forefront of the Flute's repertoire Sicilienne being no exception. After a prominent career as a flautist with the Paris Opéra he was appointed as professor of Flute at the Paris Conservatoire as well as principal conductor of leading orchestras. It was during this time that Gaubert composed including his Sicilienne which was published in 1914. Addressing many technical features including flourishing semiquaver passages awide range changing time signatures chromaticism a variety in dynamics and dotted rhythms Sicilienne is a pleasantly inspiring piece for aspiring flautists.