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.

Par ARNOLD MALCOLM. Dedicated to Sir James Galway, who gave the first performance in 1977 at New Hall, Cardiff, this Sonata for flute is in three movements. The composer writes, 'there are so many works for flute which are solely vehicles for instrumental virtuosity that I have attempted to write a piece where the musical element is more to the fore. Although this is a virtuoso work with a particular virtuoso in mind, it endeavours to be as interesting musically as I can possibly make it.' / Répertoire / Flûte Traversière et Piano

Become the featured soloist on twenty specially recorded arrangements of some fantastic hit songs from past and present! Part of the hugely successful Take The Lead series, this bumper edition gives you the opportunity to learn songs as diverse as Angels by Robbie Williams and Gershwin's Fascinating Rhythm , arranged as accessible Flute solos with Guitar chord symbols. The music is complete with two CDs - a set of full professionally recorded backing tracks and a disc of demonstration performances that will help you learn the songs. Take The Lead is an integrated series for Alto Sax, Clarinet, Flute, Trumpet, and Piano. In each edition all the songs are in the same concert pitch key, so the different instruments can play together - ideal for school groups and ensembles. / Niveau : Facile / Date parution : 2005-12-15/ Recueil / Flûte Traversière et Piano

This inspiring collection celebrating black composers has been selected and edited by the renowned saxophonist, YolanDa Brown. Suitable for intermediate-level flute with piano accompaniment, plus commentary from YolanDa anddownloadable backing tracks.
1. Blinded By Your Grace (Part 1) [Stormzy]
2. Blue And Sentimental [Count Basie]
3. I Can See The Change [Celeste]
4. I Wish I Knew How It Would Feel To Be Free [Nina Simone]
5. In A Sentimental Mood [Duke Ellington]
6. Lady [Fela Kuti]
7. Million Billion Love [YolanDa Brown]
8. Misty [Erroll Garner]
9. TokYo Sunset [YolanDa Brown]
10. Total Praise [Richard Smallwood]
11. Wishing On A Star [Rose Royce]
/ Partitions jazz

If I Were... by Serge Lancen is a set of easy works for Flute and Piano. Each piece was written as if the author were impersonating a famous composer and this book includes those inspired by Schubert Chopin and Grieg. Written for upper beginners / intermediate level players these works can all be interpreted separately. - N. 10 'If I were Schubert' has a slow tempo starts Allegro Moderato and lasts 1''10 - N.11 'If I were Chopin' is slower than the first piece in Moderato and uses Chopin''s musical style . Ithas an introduction and twodistinctive parts - N.12 'If I were Grieg' is starts with the piano at atempo 84. The introduction is followed by a main theme which is repeated before an harmonious close If I Were... can also be found with pieces inspired by Offenbach Beethoven or Albeniz among others. Serge Lancen is a French musician and composer. He wrote numerous pieces including chamber music orchestral works for solo instruments and for voice. He won many radio prizes and received a Prix de Rome.

Grades 1 - 4-As I sit myself down to write this brief foreword I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road in Bristol) I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy and likewise speaking as a lapsed brass player there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again one gets a different yetentirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence with a little gamesmanship on my part I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat) trombone and tuba (bass clef) horn in F flute clarinet and bassoon.While many will find themselves humming the likes of Going up Camborne Hill Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture I wonder if I might draw your attention to The Cornish Squire The Pool of Pilate and Cold Blows the Wind Today Sweetheart which are quite simply sublime melodies perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs Cornish folk music works equally ideally sung and played and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past while skilfully paying homage to the

Inspirational works by black composers. This inspiring collection celebrating black composers has been selected and edited by the renowned saxophonist, YolanDa Brown. Suitable for intermediate-level flute with piano accompaniment, plus commentary from YolanDa anddownloadable backing tracks./ Recueil / Flûte Traversière et Piano

With a huge range of repertoire existing for the Flute Italian composer Alfredo Casella's Sicilienne et Burlesque stands out as an extremely evocative and inspiring piece composed notably as WWI broke out across Europe. Having studied at the Paris Conservatoire from 1896 under the direction of Gabriel Fauré >i>Casella received an exceedingly high standard of education. His clear compositional ability and understanding of the Flute is portrayed in his Sicilienne et Burlesque through the use of advanced Flute techniques and brilliant ensemble devices exploiting the duet between Flute and Piano. TheSicilienne is in a slow compound time significantly contrasted by the light and comedic Burlesque. These aspects combine to create an enjoyable and challenging piece for advanced flautists.

Par WIDOR CHARLES-MARIE. The Suite Florentine for violin and piano written by Charles-Marie Widor in 1919, is an arrangement of the Suite for Violin and Piano, op. 76 (1903), itself a collection of stage music from La Sulamite (1903). It was first performed at the Élysée Palace on 20 February 1919 for Queen Hélène of Italy. Widor played the piano on that occasion and dedicated the work to the Queen. Like many of Widor's later works, it has no opus number. The suite highlights Widor's great talent for adopting the harmonic languages of various stylistic periods and his harmony is very eclectic. Johann Sebastian Bach is a great favourite and a clear influence. / Niveau : 6 / Répertoire / Flûte Traversière et Piano

A collection of pieces all carefully selected and arranged to provide supplementary material for today's young flautists. Each piece offers suggestions and guidelines to breathing dynamics and tempo together with technical tips performance notes and a simple but effective piano accompaniment. Contains a variety of musical styles ranging from folk and classical through to showtunes and popular songs.

A collection of pieces all carefully selected and arranged to provide supplementary material for today's young flautists. Each piece offers suggestions and guidelines to breathing dynamics and tempo together with technical tips performance notes and a simple but effective piano accompaniment.