SKU: LM.C06317
ISBN 9790230363174.
SKU: LM.C06611
ISBN 9790230366113.
SKU: LM.C06588
ISBN 9790230365888.
SKU: LM.C06318
ISBN 9790230363181.
SKU: LM.C05134
SKU: LM.C05768
ISBN 9790230357685.
SKU: LM.C05473
SKU: PR.114415090
ISBN 9781598063516. UPC: 680160600168. 9x12 inches.
Under the Sultan is an enchanting showpiece inspired by Turkish folk and popular music. This jazz-infused slow-fast recital work is bound to be a show-stopper! For advanced players. Duration: 8'_______________________________________Text from the scanned back cover:Under the Sultan for Flute and Piano (114-41509)New in 2011, Under the Sultan is an enchanting showpiece inspired by Turkish folk and popular music. This jazz-infused slow-fast recital work is bound to be a show-stopper!
SKU: PR.114418550
ISBN 9781491130421. UPC: 680160642373. 9 x 12 inches.
Composed as the rondo finale of Paganini’s Violin Concerto No. 2, La Campanella quickly took on a life of its own, being quoted by other composers in their own works even during the composer’s lifetime. The title refers to a small bell motif that recurs in the accompaniment, in dialog with the soloist. Bouriakov’s transcription for flute and piano exquisitely captures the original sparkle, levity, and intensity, in a manner that is gratifying to perform and to hear. The present transcription was included on the repertoire list for the 2019 Tchaikovsky Competition.
SKU: HL.49010598
ISBN 9790001093477. UPC: 884088074005. 9.25x12.0x0.091 inches.
Obwohl Franzose, ist das Gesamtwerk Guillemains von den Merkmalen des italienischen Stils gekennzeichnet, die besonders in der Vorliebe des Komponisten fur reiche Verzierungen, schwungvolle Satztechnik und Virtuositat des Soloparts hervortreten.
SKU: PR.144407310
ISBN 9781491132319. UPC: 680160681662. 9 x 12 inches.
Inspired by one of the flute repertoire’s loveliest melodies, SICILIANO (REIMAGINED) is a gently adapted “jazz-flavored†setting of the slow movement from Bach’s Sonata in Eb Major. Solo parts are provided both for C Flute and for Alto Flute. With a fairly close rendering of the authentic flute line and more contemporary chords in the piano part, SICILIANO (REIMAGINED) is an inviting way to play music with a modernized jazz sound, while reading traditional classical notation.Inspired by one of the flute repertoire’s loveliest melodies, Siciliano (Reimagined) never strays far from the source, except for its reharmonization. Occasional jazz-infused touches give the melody a fresh perspective, without diluting its purity. I am always moved by how beautifully the music of the 18th century and contemporary music coexist.Performers may play this arrangement in the Baroque style.
SKU: UT.HS-215
ISBN 9790215323063. 9 x 12 inches.
SKU: PR.114416460
ISBN 9781598067811. UPC: 680160620616. 9x12 inches.
POEM for Flute and PianoKozuch’s POEM is a plaintive elegy, perfect for memorial concerts, in religious services, or as a lyric interlude in recital. Although composed with piano accompaniment, the music is also very effective in performance with organ. Thaddeus Kozuch (1913-1991) was a Chicago-based pianist, composer, and professor at DePaul University and Northwestern University. His beautiful POEM was composed originally for violin and piano in 1937 for his wife-to-be, Jacqueline Frye. He revised POEM for flute and piano in 1988 but the work was discovered only recently in a piano bench by the composer’s daughter, flutist Ann Fairbanks.Although the final pencil manuscript is musically complete, it lacks dynamics, and this publication presents the music as the composer left it.The following performance suggestions are provided by Ann Fairbanks:Many nuances of the work may be left to the discretion of the performer. There are quite a few notes that may be slurred, such as sets of eighth notes or triplet-eighths; if notes are articulated as written, the tonguing should be legato.Dynamics for both flute and piano could be as follows: begin the work p, then crescendo to f in bars 6-7. Decrescendo in 10-11 to a p in bar 12. The most intense section (bars 16-32) should be played with energy and full sonority, including a crescendo in 26 to fin 27. The conclusion, beginning at bar 42, should be played p, with the last measures performed quietly.
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