Par SHANKAR RAVI. Nous avons choisi de proposer deux versions de cette partition. La présente version pour flûte et harpe, fidèle au manuscrit de Ravi Shankar, et une version pour flûte et guitare (25232) dans l'arrangement 'Valade-Aussel'. Cette dernière est enrichie d'indications diverses issues des choix d'interprétation de Roberto Aussel et moi-même. L'instrumentiste pourra donc, s'il le désire, construire son interprétation en s'inspirant des indications contenues dans la version pour flûte et guitare. Dans ces deux éditions, les altérations sont notées strictement à la mesure, ceci pour ne pas surcharger inutilement le texte dont la facture modale ne laisse aucune ambiguïté sur ce point. Pierre-André Valade / Niveau : Difficile / classique / Répertoire / Flûte Traversière et Harpe

Par DELISE LOUIS ANTHONY. Louis Anthony deLise's Giocara for Flute and Harp was written for flutist Joan Sparks and harpist Anne Sullivan. As the title implies, (giocara means 'to play'), this collection is all about playfulness, and consists of three works: Three Little Dancers, A Preponderance of Sevenths, and Petite Fall Fanfare. Though originally composed for flute and pedal harp, included in this edition are lever harp arrangements of the first two movements. The third movement, being primarily diatonic, can be played on lever harp with the notes included.Louis Anthony deLise's Giocara for Flute and Harp was written for flutist Joan Sparks and harpist Anne Sullivan. As the title implies, (giocara means 'to play'), this collection is all about playfulness, and consists of three works: Three Little Dancers, A Preponderance of Sevenths, and Petite Fall Fanfare. Though originally composed for flute and pedal harp, included in this edition are lever harp arrangements of the first two movements. The third movement, being primarily diatonic, can be played on lever harp with the notes included./ Répertoire / Flûte Traversière et Harpe

Two dances for flute and harp from Peter Maxwell Davies' ballet Caroline Mathilde.A new instrumentation restores this linked pair of dances from Davies's second full-length ballet Caroline Mathilde based on the story ofthe eighteenth-century British princess sent in marriage to Denmark to the eighteenth-century milieu of the work's setting and musical world. The period manners - a gavotte in the first dance a gigue at the start of the second -are typically overlaid with the composer's Scottishness. In general the harp has an accompanying role but it comes forward alone in the second movement which ends with bravura from both instruments.These two dances were firstperformed in September 1993 at the Northlands Festival by David Nicholson and Eluned Pierce.Score and flute part. Duration c. 5mins.Harp part edited by Elune Pierce.

As a prestigious composer of the early 20th century Maurice Ravel's Pièce En Forme De Habanera transcribed for Flute and Harp by Christian Lardé and Marie-Claire Jamet contains many features which continue to make the composer's music popular and loved to this day. Known for his masterful melodies and rich harmonies  Pièce En Forme De Habanera clearly exemplifies these qualities through flourishing Flute lines and evocative chordal and rhythmic Harp accompaniments. Moreover Habanera rhythms heard throughout the piece create further excitement. All of these musical elementscombine to create a highly enjoyable piece for the Flute and Harp repertoire. In addition the clear print of separate solo and accompaniment parts in this edition ofPièce En Forme De Habanera add to an irresistible purchase for aspiring Flute players.

Par DEBUSSY CLAUDE. / Niveau : Intermédiaire / classique / Répertoire / Flûte Traversière et Harpe ou Piano

of the concerto for flute, harp and orchestra KV 299. Par MOZART WOLFGANG AMADEUS. In the unparalleled series ‚Cadenza‘, Schott Musik International presents cadences of well-known instrumental concertos of classical and Romantic music, composed by major composers and soloists of our time. The cadences of Mozart‘s Concerto for flute, harp and orchestra in C major KV 299 were created by Nino Rota. It is not known when and for which occasion Rota wrote these cadences. But the two soloists, on the other hand, to whom he dedicated the cadences are quite well-known: the harpist, Clelia Gatti Aldronandi and the famous flutist Severino Gazzelloni. Rota‘s brilliant neoclassicism is perfect for the virtuoso dialogue between the two solo instruments on the themes of the concerto./ Répertoire / Flûte Traversière et Harpe