SKU: CF.WF232
ISBN 9781491153772. UPC: 680160911271.
Known internationally for superior flute editions, Robert Stallman continues his considerable expansion of the flute repertoire with re-creations, or “new†works for flute by Bach, Mozart, Schubert, Beethoven, Chopin, Dvořák, and other great composers.Conceived originally as a work for solo piano, this arrangement of Dvořák’s Suite in A Major for flute and piano is based on both the piano and orchestra versions. It is one in a series of Stallman’s “new†works for flute. Dvořák composed the Suite in A Major in 1894, inspired by his happy and fruitful stay in the “New World†—a period that produced some of his greatest works, full of thematic freshness, raw energy and folk influences, both American and Old World Czech. The “New World†Symphony, Cello Concerto, “American†Quartet, String Quintet in E≤ Major, the Violin Sonatina and this A Major Suite are all cut from the same musical cloth—textured with his personal impressions of the Wild West’s fascinating Indian and Afro-American music, its God-fearing and friendly people, its vast open spaces and its awe-inspiring natural beauty.PrefaceConceived originally as a work for solo piano, the Suite in A Major was composed by Dvořák in 1894, during his famous two-year visit to the United States. He wrote the work in a mere ten days, and a year later made a full orchestration of it. The Suite was first performed in this second version in 1910 in Prague at the Rudolfinum. Dvořák, who died in 1904, never had a chance to hear a performance of this stirring orchestral realization.The Suite was inspired by the composer’s happy and fruitful stay in the “New Worldâ€, especially by his unforgettable summers spent in the quiet Czech-American village of Spillville, Iowa—a period that produced some of his greatest works, full of thematic freshness, raw energy and folk influences, both American and Old World Czech. The “New World†Symphony, Cello Concerto, “American†Quartet, String Quintet in Eb Major, the Violin Sonatina and this A Major Suite are all cut from the same musical cloth—textured with his personal impressions of the Wild West’s fascinating Indian and Afro-American music, its God-fearing and friendly people, its vast open spaces and its awe-inspiring natural beauty.Several of the Suite’s affecting melodies find echoes in these other, better known compositions of this American period. Wistful themes abound in all five movements, reflecting Dvořák’s transformative American experience as it found resonance in his own emotions. Contrasting with deeply felt, contemplative passages are Dvořák’s joyous and tempestuous expressions, which open the second, third and final movements.This arrangement for flute and piano is based on both the piano and orchestra versions. It is one in a series of my “new†works for flute by some of our greatest composers and I am delighted to add it to the collection. I predict that the A Major Suite will become a popular addition to our Romantic recital repertoire, much like the Dvořák Sonatina.—Robert StallmanMarblehead, Mass.June 1, 2018.
SKU: FG.55011-746-4
ISBN 9790550117464.
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.
SKU: HL.48180546
UPC: 888680795948. 9.0x12.0x0.11 inches.
Jacques Ibert (1890-1962) studied at the Paris Conservatoire before embarking upon a successful composing career. Stories increased his popularity when it was published in the mid-1920s and Marcel Moyse (1889-1984), a prominent French flautist, arranged the compilation for flute and piano in 1933 to great acclaim. Stories for Flute and Piano is made up of six movements; 1) The Leader of the Gold Turtles, 2) The Little White Donkey, 3) In the Sad House, 4) The Crystal Cage, 5) The Market of Fresh Water, and 6) The Procession of Balkis. Containing a variety of musical aspects and techniques, Moyse's arrangement for flute and piano of Ibert's Stories is an exciting addition to the intermediate level flautist's repertoire.
SKU: CF.W2650
ISBN 9780825882920. UPC: 798408082925. Sc.9x112 - pt.8.5 x 12 inches. Key: C major.
Pan Penseroso (2009) is a concerto for solo flute or two flutes and orchestra in three movements: 1. The Noise of Folly 2. Prophetic Strain 3. More is Meant (than meets the ear) Pan Penseroso and the titles of its three movements are taken from John Miltons great poem Il Penseroso (The Contemplative Man). The music aligns itself with this response to the poets earlier LAllegro (the Cheerful Man). In my concerto the flutist Pan, like the mature Milton, casts a reflective musical eye on the world, renouncing all vain deluding joyes, so as to better hear the Sweet Bird that shunnst the noise of folly Written for the master flutist Robert Dick, Pan Penseroso includes a number of procedures explored in his pioneering book The Other Flute: A Performance Manual of Contemporary Techniques.Pan Penseroso (2009) is a concerto for solo flute or two flutes and orchestra in three movements: 1. The Noise of Folly 2. Prophetic Strain 3. More is Meant (than meets the ear) Pan Penseroso and the titles of its three movements are taken from John Miltonas great poem Il Penseroso (The Contemplative Man). The music aligns itself with this response to the poetas earlier LaAllegro (the Cheerful Man). In my concerto the flutist Pan, like the mature Milton, casts a reflective musical eye on the world, renouncing all avain deluding joyes,a so as to better hear the aSweet Bird that shunnast the noise of follya|a Written for the master flutist Robert Dick, Pan Penseroso includes a number of procedures explored in his pioneering book The Other Flute: A Performance Manual of Contemporary Techniques.Pan Penseroso (2009) is a concerto for solo flute or two flutes and orchestra in three movements: 1. The Noise of Folly 2. Prophetic Strain 3. More is Meant (than meets the ear) Pan Penseroso and the titles of its three movements are taken from John Milton's great poem Il Penseroso (The Contemplative Man). The music aligns itself with this response to the poet's earlier L'Allegro (the Cheerful Man). In my concerto the flutist Pan, like the mature Milton, casts a reflective musical eye on the world, renouncing all vain deluding joyes, so as to better hear the Sweet Bird that shunn'st the noise of folly... Written for the master flutist Robert Dick, Pan Penseroso includes a number of procedures explored in his pioneering book The Other Flute: A Performance Manual of Contemporary Techniques.Pan Penseroso (2009) is a concerto for solo flute or two flutes and orchestra in three movements:1. The Noise of Folly2. Prophetic Strain3. More is Meant (than meets the ear)Pan Penseroso and the titles of its three movements are taken from John Milton’s great poemIl Penseroso (The Contemplative Man). The music aligns itself with this response to the poet’searlier L’Allegro (the Cheerful Man). In my concerto the flutist Pan, like the mature Milton, casts areflective musical eye on the world, renouncing all “vain deluding joyes,†so as to better hear the“Sweet Bird that shunn’st the noise of folly…â€Written for the master flutist Robert Dick, Pan Penseroso includes a number of procedures exploredin his pioneering book The Other Flute: A Performance Manual of Contemporary Techniques.
SKU: BT.AMP-379-400
ISBN 9789043135771. 9x12 inches. English-German-French-Dutch.
Part of the ANGLO MUSIC PLAY-ALONG Series, Philip Sparkes 15 INTERMEDIATE CLASSICAL SOLOS is aimed at the young instrumentalist who can play about an octave and a half and follows on from Sparkes 15 EASY CLASSICAL SOLOS. Specifically tailored tosuit the individual instrument, this book introduces the developing player to the world of the classics by using simple yet attractive melodies that fit their limited range.
The carefully selected pieces include music from the 17th to the 19th century and cover a wide variety of styles, from Handel to Tchaikovsky and from Clementi to Brahms.
The book will provide invaluable additional material to complement any teaching method and includes both piano accompaniment and a demo/play-along CD.
Genau auf jedes Instrument zugeschnitten, ermöglichen die sorgfältig ausgewählten Melodien noch mehr Spielerfahrung mit klassischer Musik. Die Stücke umfassen verschiedene Stilrichtungen und Komponisten wie z.B. Händel, Tschaikowsky, Clementi undBrahms.
Jeder Band bietet wertvolles Ergänzungsmaterial, das zu jeder Instrumentalschule passt und enthält sowohl Klavier- als auch CD-Begleitungen.
SKU: IS.FP4052EM
ISBN 9790365040520.
Belgian composer Jef Joseph Maes (1905 – 1996) often described himself as a modern romantic, and his 1948 Arabesque and Scherzo for flute and piano (written as a concours piece for the Royal Conservatoire Antwerp in Belgium) is a testament to that label. Quite aside from its appeal to flutists as a competition work - with its origins as a concours piece allowing the player to display both technical and musical prowess - the music itself holds touches of Korngold and early Hindemith in its lush melodies and moments of sultry film music. And, though Maes held no truck with most elements of modernism, his clever take on neo-romantic harmony and a healthy touch of humor keeps the piece sounding fresh and appealing. Constructed on the model of more famous Paris Conservatoire pieces - Gaubert's Nocturne et Allegro Scherzando, for example, or Enesco's Cantabile et Presto - the Arabesque and Scherzo revels in the two-movement format. The opening Arabesque allows the flutist to sing, with ornamentation and figurations highlighting the flute's ability to color octave-spanning melody with technique. The Scherzo alternates between action sequences and moments of reverie, but always with an ear towards vivid musicality and clear conversation between flute and piano.
SKU: HL.48181379
UPC: 888680857073. 9.0x12.0x0.114 inches.
Wolfgang Amadeus Mozart's (1756-1791) Flute Concerto in G was written by the composer in 1778. The Concerto remains widely studied and performed on the Flute, making it one of the most important Concerti in the instrument's repertoire. Concerto in G is in three movements; 1. Allegro maestoso, 2. Adagio ma non troppo, and 3. Rondo: Tempo di Menuetto. The first and last movements are in the tonic key, whilst the second movement is in the subdominant key of D major. A Dutch flautist of the time, Ferdinand de Jean, commissioned Mozart for four Flute quartets and three Flute concerti. However, the composer, who famously disliked the Flute, only completed three quartets and two concertos. Instead of composing a second concerto, Mozart rearranged his Oboe Concerto, with substantial changes for it to fit with the Flute. This edition of Mozart's Concerto in G includes cadences by virtuosos Taffanel, Gaubert and Bozza, making for an unmissable version of the famed work. .
SKU: M7.APUE-516315
ISBN 9781875516315.
These musical gems offer a diverse array of musical styles, ensuring a rich and engaging journey into the world of flute music. From lyrical melodies to lively dances, each piece has been crafted to nurture both technique and expressive playing, exploring the beauty and versatility of the flute. There are biographies of all the composers at the end of the flute part, as well as notes and helpful performance suggestions for each work. Free Flute and Piano recordings, and Piano backing tracks for every piece can be found on YouTube at 'theyoungfluteplayer' (no spaces) channel, see the playlist for Lyrical Flute Miniatures. You can also find the link and further information at www.allegromusicpublishing.com/flutemusic Lyrical Flute Miniatures will delight students, flute teachers, and audiences alike, a valuable addition to your Flute repertoire!
SKU: HL.48181519
UPC: 888680842086. 9.0x12.25x0.082 inches.
Exploiting the Flute to its full potential, Italian Fantasy is an exciting and challenging addition to the advanced flautist's repertoire. From cadenza passages to a delightful 6/8 melody, this piece by French composer Eugene Bozza (1905-1991) covers a huge variety of the Flute's possibilities. The piece begins with an emotional, characterised cadenza, covering a wide range. This leads dramatically into a 6/8 section accompanied by broken chords in the piano before ending with a quirky and lively 2/4 secton. Bozza's Italian Fantasy for Flute and Piano is not only symbolic, but also includes exciting challenges, making for an imperative performance piece in the Flute repertoire. .
SKU: IS.FP4175EM
ISBN 9790365041756.
Jozef (Jef) Schampaert's 1952 Notturno e Danza (Nocturne and Danse) for flute and piano, written as a concours piece for the Royal Conservatoire Antwerp in Belgium, is a bit of a curious beast. While the rest of the Belgian school was experimenting with a return to lush romanticism (Alpaerts, Maes, and the musical progeny of Benoit), or beginning to prod the tonal bounds of listenable 12-tone and serialism (Constant and Verbesselt), Schampaert took towards a different sound: that of the Impressionists, transmuted through his distinctly Flemish touch. The Nocturne and Danse is no exception. The core of the Nocturne is a relatively straightforward melody, but it's quickly pulled apart into Debussyian fragments and melodic cells - a rhapsody in miniature, with touches of Ibert's stranger runs and figures through. The Danse retains a clearer sense of melody, but one that's even closer to Debussy and Ravel - grace notes and intertwined, changing runs are integral melodic material, by turns dark then playful. A small cadenza again touches on a sense of Ibert before the piece is brought to a quiet close.
SKU: PR.114419480
ISBN 9781491131428. UPC: 680160677313. 9 x 12 inches.
Gary Schocker’s THREE DANCES FOR TWO FLUTES has long been a staple of the flute repertoire – in its original voicing with piano, as well as in transcriptions with string orchestra or band accompaniment, for alto saxophone duo with piano, and even in the composer’s flute quartet version of the famous Coffee Nerves movement. Schocker has arranged THREE DANCES for one solo flute with piano, incorporating all of the original work’s counterpoint, beauty, and spice, into this practical and concise instrumentation.
SKU: PR.114422710
ISBN 9781491136072. UPC: 680160688227.
DUO’s succinct movement titles (I. Here, II. Open, III. Stark, IV. Ardent) tease at revealing the grand and heartfelt inspiration for exuberant romanticism in this sonata-like work of symphonic proportions and depth. Charles Gibb is both an accomplished pianist and an award-winning flutist, who has written of this compelling major addition to the literature: “This work is a journey. What journey and whose journey does not matter. It is my journey, it is your journey. It is the journey of those who came before us, and of those who will come after us. I wrote this hoping that we can find each other along the road, so we can realize that we don’t need to go on the journey alone.†Gibb’s DUO is sure to become a favorite major work for flute recitalists.This work is a journey. What journey and whose journey does not matter. It is my journey, it is your journey. It is the journey of those who came before us, and of those who will come after us. I wrote this hoping that we can find each other along the road, so we can realize that we don’t need to go on the journey alone.“Here†begins with three notes that shape the rhythmic and harmonic content of the entire work. Melodies and harmonies including the tonic, dominant, and leading tone can be found in each of the four movements. The first moments of this movement introduce the melody, offering itself unencumbered and uninhibited. It shows itself as it is. The melodies soar, the harmonies become voiced more intricately, and the opening theme repeats in full grandeur. The momentum slows down, and the movement ends with a sense of completion, yet remains unbalanced.A striking piano gesture launches “Open,†the idea of instability reflected with the flowing flute trills and unclear meter patterns in the piano. The sensation of an unsteady grace in 5/8 time arrives with a piano ostinato. The melody is expressive, yet insecure and unbalanced due to changing meters. After a grand pause, the movement transitions to 4/4 time with the flute switching between duplet and triplet flourishes. After a rapid descent in the flute, the opening gesture returns, changed and abruptly interrupted.The third movement, “Stark,†is very static, beginning plainly but markedly. The falling fifth calls out continually throughout the movement, searching, lost. Melodies appear in pieces, some smooth and flowing, others rather disjunct. The piece climaxes with a line of mournfulness, yet revealing a deeper strength through intense projection of tone in the high register. However, the static harmonies return, this time unsteady all the way to its foundation. This destabilization repeats, and then quietly recedes.“Ardent†is the longest of the movements and spans a wide range of musical emotion. Part of the movement is fast paced, energetic, and balances order and disarray. However, once the chaos dies down, a gentle, expressive theme comes in. The theme itself is very resolute; it is order appearing from the pandemonium. Conflict returns, and order and chaos become less distinguishable from one another, and soon fuse together. However, order returns with new meaning, synthesized with previous musical content, creating a truer, deeper sense of awareness or understanding. A moment of ambiguity arises, but the flute persists, supported by the sensitive but firm figuration in the piano, and resoundingly comes to a close, unburdened and at ease.
SKU: PR.114418900
ISBN 9781491129517. UPC: 680160668632.
A welcome addition to the bass flute repertoire, Dorff’s 14-minute sonata is designed as two pairs of slow-fast movements. While composed as a complete 4-movement sonata, either half may be performed alone as a 7-minute recital work. The movement titles are: I. Sprawling, burbling; II. Sparkling, glistening; III. Under Winter; and IV. Spring Spirits.When Peter Sheridan commissioned me to write a piece for bass flute and piano, his only requests were a sonata-like multi-movement work, and some kind of reference to New York, where we both grew up. Just the thought of a bass flute, with its broad and mighty airstream, already reminded me of the mighty Hudson River: from the dense woods of upstate New York, through the beautiful landscapes of New Paltz and Poughkeepsie, down through the celebrated Manhattan waterway.As I daydreamed how to build a sonata inspired by the Hudson, I thought of its deep primal nature carved by the Ice Age, and the life within the river and on its shores long before humans arrived. I thought of how the river’s magnetism drew Native Americans who honored and built their lives around it. I thought of beautiful trees and wildlife, the annual cycles of ecosystems, and the natural symbiosis between the river itself, the life within, and the life on land spawned by the river’s resources.I wondered what if Thoreau had sat by the Hudson rather than by Walden Pond; I wondered what if Hesse had set Siddhartha in the Hudson Valley with this river as his metaphor for the flow of life and time.I wondered whether the sonata should flow from north to south, or have chronological references. I wondered if I should allude to the many poets and painters who have drawn inspiration from the mighty Hudson. Every thought led to the river’s essence, its own spirit and life — flowing through raw nature, from skinny trickles to mightiness spawning cities; supporting subtle life, and becoming a central commons for human societies.The subtitle Spirit of the Hudson brings it all together.* * *The sonata is built in 4 movements, with formal inspiration from the Baroque: A slow Mvt. 1 “Sprawling, burbling†leads directly to the rapid Mvt. 2 “Sparkling, glistening,†followed by another slow-fast pair: Mvt. 3 “Under Winter†which leads directly into Mvt. 4 “Spring Spirits.†In addition to performances of the complete sonata, either pair of movements may be performed on its own for a shorter concert segment.SONATA (SPIRIT OF THE HUDSON) was premiered at the International Low Flutes Festival in April 2018 by its commissioner, bass flutist Peter Sheridan, with Hyeeun Hahm as pianist.
SKU: AY.FRD05
ISBN 9790302114406.
The product available here for purchase is the solo flute part and piano reduction for John La Montaine's Concerto for Flute. Premiered on April 12, 1981 by Keith Bryan and the National Gallery Orchestra, John La Montaine's Concerto for Flute and Orchestra is best summed up in this review from Paul Hume at The Washington Post: The world premiere of a flute concerto by John La Montaine was the centerpiece. La Montaine clearly had a great time writing the concerto, since he filled it with wit and open, songful beauty. The formal design is neatly broken up into imaginative divisions. There are some exotic touches for woodblocks, and bass clarinet, but the heart of the work lies in the brilliance of the writing for the soloist. The cadenza in the final movement is impressively introduced and beautifully concluded..
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: 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.
SKU: BT.DHP-1175830-401
ISBN 9789043153041. English-German-French-Dutch.
Which instrument is better suited to lend its voice as fairy queen Titania than the flute?Pascal Proust is among the best known of French composers in the field of musical pedagogy. He has produced a whole series published by De Haske that is constantly being expanded. Proust wrote Titania for more advanced flute students witharound 4 5 years’ progress. Proust’s style is easily accessible to the student and at the same time appeals to the audience, so this piece is especially suitable as a recital or competition piece.Er is toch geen instrument geschikter om elfenkoningin Titania te verklanken dan de fluit?Pascal Proust behoort tot een van de bekendste Franse componisten op het gebied van de muziekpedagogie. Voor De Haske heeft hij inmiddels een complete serie gemaakt die nog steeds verder wordt uitgebreid. Proust schreef Titania speciaal voormeer gevorderde fluitisten die zo’n vier tot vijf jaar les hebben gehad. Zijn stijl is toegankelijk voor de leerling, maar ook aantrekkelijk voor het publiek; daardoor is dit stuk ideaal voor een optreden of wedstrijd.Welches andere Instrument wäre besser als die Flöte dazu geeignet, seine Stimme der Feenkönigin Titania zu leihen?Pascal Proust zählt zu den renommiertesten französischen Komponisten auf dem Gebiet der Instrumentalpädagogik. Bei De Haske hat er inzwischen eine ganze Serie mit Instrumentalstücken vorgelegt, die laufend erweitert wird. Proust schriebTitania für fortgeschrittenere Flötenschüler mit etwa 4 5 Jahren Unterrichtserfahrung. Prousts Stil ist leicht verständlich für den Schüler und zugleich attraktiv für das Publikum, sodass das Stück sich besonders gut als Vortrags- oder auchWettbewerbsstück eignet.Quel autre instrument que la fl te pouvait mieux prêter sa voix Titania, la reine des fées? Pascal Proust est l’un des compositeurs français les plus renommés dans le domaine de la pédagogie instrumentale. La série de compositions qu’il a produite pour De Haske est régulièrement élargie. Proust a écrit Titania pour les élèves defl te avancés abordant le deuxième cycle de leurs études. Son style très accessible convient parfaitement aux élèves et plaira tout autant au public, ce qui en fait un morceau idéal pour des concerts ou des concours.
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