for Flute and Basso continuo nos. 7 - 12-Urtext edition of Marcello: 12 Sonatas for Treble Recorder and Continuo - Volume 2 (Sonatas 7-12):Sonata VII in Bb MajorSonata VIII in D MinorSOnata IX in C MajorSonata X in A MinorSonata XI in G MinorSonata XII in F Major

(Flötensonaten - Band 1)-Johann Sebastian Bach's?Flute Sonatas - Volume 1?includes three sonatas for Flute and Piano accompaniment. Sontatas included are Flute Sonata No. 1 in B minor BWV1030 Flute Sonata No. 2 in E flat major BWV1031 and Flute Sonata No. 3 in A major BWV1032.

Breitkopf Urtext für Flöte und Cembalo / for Flute and Harpsichord-The second volume of sonatas for Flute and Piano (originally for Harpsichord) containing Sonata in D Wq 85 and Sonata in D Wq 86 edited by Gerhard Braun with Continuo realization by Siegfried Petrenz.Volume 1: EB8474

Publié par Malina János Réalisation de la basse continue par Martos László The present edition contains Handel's entire sonata outpout for recorder (Z. 13405) and transverse flute (Z. 13404), except the so-called Halle sonatas of doubtful authenticity. Contenu: 1. Sonate V in Sol minore 2. Sonata VI in La minore 3. Sonata VII in Do maggiore 4. Sonata VIII in Fa maggiore 5. Sonata IX in Sib maggiore 6. Sonata X in Re minore

Arranged for Piano and Flute-Cesar Franck’s Sonata for Piano and Violin is one of the most treasured works in the Violin repertoire a masterpiece of cyclic form with a gracefulness and expressive force almost paradigmatic for the age of musical Romanticism. This work was composed in 1886 and was dedicated to the Belgian violinist and composer Eugène Ysaÿe.After Franck’s death in 1890 the original publisher of the Sonata the Parisian house Julien Hamelle announced an arrangement of the work for Flute in 1910. However it has not been possible to locate any copy of this publication. That the Flute version of Franck’s Sonata has found a permanent place in the chamber musicrepertoire is primarily the achievement of Jean-Pierre Rampal who frequently performed his own arrangement of the work.There were no idiomatic Violin techniques to overcome and the cantabile solo part with its broadly arched melodies seems perfectly natural on a wind instrument. The present Flute arrangement largely adopts the original Violin part unchanged merely transposing those passages that go beneath the Flute’s range. In such cases the change of register begins early enough to avoid disruptions to the melodic line and the musical context. The balance between the solo instrument and the (unaltered) Piano accompaniment remains intact.The edition is rounded off by an informative text on the genesis and reception history of the sonata (Ger/Fr/Eng).

Per Flauto E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Répertoire / Flûte Traversière et Piano

Wolfgang Amadeus Mozart’s Wind Divertimenti KV 439b later appeared in a version for Piano entitled Viennese Sonatinas. Arrangements of these sonatinas for Flute and Piano will provide flautists with much needed repertoire of music from this period. Detailed phrasing and dynamics are included to aid and inspire the players. For middle-grade flautists.

La formule «Sonates attribuées à Bach» figurant dans le titre de cette édition Urtext peut à présent être complétée du mot autrefois. En effet malgré la subsistance de quelques doutes on part aujourd?hui du principe que les trois sonates ne sont pas du père Bach mais plutôt de son fils Carl Philipp Emanuel. La faveur extraordinaire dont jouissent notamment les sonates en Mi bémol majeur et en sol mineur aux mouvements lents d?une beauté toute particulière n?en pâtit absolument pas. Ces ?uvres font partie du pain quotidien des flûtistes.

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. 2 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. 2 which premiered in 1925. Addressing many technical features, including flourishing semiquaver passages, a wide range, emotion, intervals, chromaticism and complex rhythms, Sonata No. 2 is a challenging yet riveting and stirring piece for aspiring flautists./ Répertoire / Flûte Traversière et Piano

A superb collection of 10 Sonatas for Flute with Piano accompaniment by G.F. Handel spread across 2 volumes. This first volume includes 5 sonatas as edited by Jean-Pierre Rampal with Continuo realisation by RobertVeyron-Lacroix.The solo flute part is also included on a separate insert.

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.

This is an updated edition of Francis Poulenc's 1957 work Sonata For Flute And Piano, edited by Carl Schmidt. Featuring the full score and separate Clarinet part, this exclusive edition also includes a download card, giving you instant online access to demonstration and accompaniment tracks.After having begun a Sonata for Flute as early as 1952, questions arose over whether Poulenc would be able to complete this work on top of his various other compositions at the time. The piece was, thankfully, finally finished after being commissioned by Harold Spivacke, the Chief of the Music Division of the Library of Congress, for a festival in honour of Elizabeth Coolidge. The world premiere, at Poulenc's request, took place at the Strasbourg Music Festival, performed by renowned flautist Jean-Pierre Rampal, while the American premiere took place in the Coolidge Auditorium at the Library of Congress. This new edition includes an extensive introduction to the piece, a detailing of the different sources that were used, and the inherent difficulty of compiling such an edition as this, all in English, French and German. Furthermore, an in-depth discussion of the problems of authority, as well as a vast number of critical notes is included, giving a true sense of the care and attention that has gone into producing this new edition of Poulenc's Sonata For Flute And Piano. At all points, Schmidt has aimed to reproduce an authoritative and accurate score that is at once playable and a reflection of what Poulenc himself may have intended.What makes this edition of Sonata For Flute And Piano really special is the unique download card that provides exclusive online access to demonstration and accompaniment audio tracks. Professionally-recorded by renowned flautist Michael Cox and pianist Huw Watkins, the demonstration track allows you to hear exactly how the piece as a whole should sound, before the independent Piano-only track lets you take the place of the flautist in your very own performance. This is a unique opportunity for flautists to learn from an authoritative score, and play along to a special backing track, with a work that, since its premiere, has become one of the most frequently-performed and well-loved works in the Flute repertoire.For flautist fans of Francis Poulenc, lovers of Les Six, or just players with a proclivity for stunning music, this edition of Sonata For Flute And Piano has been a long-time coming, and now it's available in this unique edition with accompanying download card. / Flûte Et Piano

Twelve fine Sonatas by the Italian virtuoso.-Throughout his 30-year career as principal flautist of the opera orchestra of La Scala Milan Rabboni came in close contact with opera repertoire and singers of the time and thereby gained a priviliged insight into the belcanto style. It is clear that Rabboni composed his Sonatas to explore different sonorities and phrasings as well as to establish a better overall technique for the flute. Although at first they appear to bestraightforward these sonatas encourage the flautist to look beyond merely playing the notes and to strive towards creating shapes and lines within the music an approach which is often disregarded in favour of developingtechnique.