Par TELEMANN GEORG PHILIPP. Solo for Flute and Basso continuo in B minor (TWV 41:h4) Tafelmusik I If Telemann was regarded by his contemporaries as one of the greatest of all composers, his star, faced with the overwhelming presence of Bach and Handel, paled in the course of the 19th century to the verge of contempt. This assessment changed radically during the course of the last century. Through the systematic exploration of his music, Telemann, once considered purely an instrumental composer, has emerged into a highly cultivated, culturally well-connected and enormously versatile artistic personality who left an indelible mark on the musical life of his time. Again and again we discover anindividual approach in his works that seems to abandon the musical conventions of his day, both large and small. The Tafelmusik (Musique de Table) is a collection of chamber pieces for various ensembles arranged into 3 parts and is perhaps Telemann's most celebrated collection of music. Composed in 1733, the Tafelmusik clearly demonstrates Telemann's skill in handling a diversity of musical genres and a variety of instruments. - Urtext of the Telemann Edition/ Répertoire / Flûte Traversière et Basse Continue

Par ALBERT ADRIENNE. Piccolodeon is a duet for piccolo and piano that expresses the mood and sonority of the 'nickelodeon,” an early 20th-century arcade instrument used for silent movies, carousels, and vaudeville theater. The piece begins as a playful ragtime with the instruments in sync. Gradually, the ensemble unravels to the point where it's a toss-up as to which player is off. This musical gem is full of surprise and delight! Piccolodeon is a duet for piccolo and piano that expresses the mood and sonority of the 'nickelodeon,” an early 20th-century arcade instrument used for silent movies, carousels, and vaudeville theater. The piece begins as a playful ragtime with the instruments in sync. Gradually, the ensemble unravels to the point where it's a toss-up as to which player is off. This musical gem is full of surprise and delight!/ Répertoire / Piccolo et Piano

This short suite, much inspired by Bartók's Six Romanian Folk Dances, is based on traditional dances and songs of Argentina. Although the original rhythms and melodies are often transformed by the use of contemporary techniques, the piece preserves the authentic spirit of each of these folk forms.Zamba de Vargas, a well known folk song, refers to a battle in Argentina between two armies of gauchos during the civil wars of the nineteenth century.Ojos Azules (Blue Eyes) is an introspective lament for lost love of Quichua origin (Northwest of Argentina). It was first collected by musicologist Leda Valladares.Both the Milonga and the Valsecito Criollo, (folk forms which developed in rural areas and then made it to the outskirts of Buenos Aires at the turn of the century) are original themes written by me based on my own personal understanding of the genre.Lastly, the Baguala is inspired on a transcription documented by Isabel Aretz which was reproduced in Las Canciones Folklóricas de la Argentina and published by Instituto Nacional de Musicología of Buenos Aires in 1969.Commissioned by and dedicated to the Minnesota Sinfonia and to its Music Director, Jay Fishman. / Flûte, Alto Et Piano

13 PIECES FOR FLUTE AND PIANO INSTRUMENTATION : FLUTE AND PIANO DESCRIPTION : IN THIS COLLECTION, ELISABETH WEINZIERL-WÄCHTER AND BARBARA HELLER PRESENT WORKS FOR FLUTE AND PIANO BY 13 FEMALE COMPOSERS: STARTING WITH THE 18TH CENTURY, WITH SONATAS BY ANNA AMALIA VON PREUßEN AND ANNA BON DI VENEZIA, VIA THE 19TH CENTURY WITH VARIATIONS BY BLAHETKA AND 'SÉRÉNADE AUX ÉTOILES' BY CECILE CHAMINADE, AND VIA WORKS BY MÉLANIE BONIS, LILI BOULANGER, GERMAINE TAILLEFERRE TO THE PRESENT TIME WITH WORKS BY BARBARA HELLER, GLORIA COATES, DOROTHEE EBERHARDT, CAROLINE ANSINK, ANNETTE SCHLÜNZ AND CHRISTINE K. BRÜCKNER. CONTENU : PREFACE - NOTES ON THE COMPOSERS - ANNA AMALIA VON PREUßEN (1723-1787): SONATE F-DUR FÜR FLÖTE UND B.C. - ANNA BON DI VENEZIA (UM 174 - NACH 1767): SONATE G-DUR FÜR FLÖTE UND B.C. OP. 1/6 - LEOPOLDINE BLAHETKA (189-1887): VARIATIONEN FÜR FLÖTE UND KLAVIER OP. 39 - CÉCILE CHAMINADE (1857-1944): SÉRÉNADE AUX ETOILES FÜR FLÖTE UND KLAVIER OP. 142 (1911) - MÉLANIE BONIS (1858-1937): PIÈCE FÜR FLÖTE UND KLAVIER OP. 189 - GERMAINE TAILLEFERRE (1892-1983): FORLANE FÜR FLÖTE UN KLAVIER (1972) - LILI BOULANGER (1893-1918): NOCTURNE FÜR FLÖTE UND KLAVIER (1911) - BARBARA HELLER (GEB. 1936): PARLANDO FÜR FLÖTE UND KLAVIER (1993) - GLORIA COATES (GEB. 1938): PHANTOM FÜR FLÖTE UND KLAVIER (1988/24) - DOROTHEE EBERHARDT (GEB. 1952): TRÄUME FÜR FLÖTE UND KLAVIER (22) - CAROLINE ANSINK (GEB. 1959): EPITAPH FÜR MARIUS FÜR FLÖTE UND KLAVIER (22) - ANNETTE SCHLÜNZ (GEB. 1964): TASTEND, TRÄNEND FÜR FLÖTE UND KLAVIER (21) - CHRISTINE K. BRÜCKNER (GEB. 1967): TSETONO FÜR FLÖTE UND KLAVIER (24) DATE DE PARUTION : 31/03/2008 NOMBRE DE PAGES : 152 LANGUE : GERMAN - ENGLISH FORMAT : NEW EDITION PORTRAIT

Aside from the Partita in A minor by Johann Sebastian Bach (HN 457) and the Sonata in a minor by his son Carl Philipp Emanuel (HN 555), it was also mainly Telemann's 12 Fantasias that enriched the solo flute repertoire in thefirst half of the 18th century. Telemann's cycle evidently had a great influence on the flautist's world. The composer had his Fantasias published in 1727 (he might even have engraved the edition himself). The work was soonconsidered to be exemplary and caught on. This edition is based on Telemann's print, which is also reproduced as a facsimile in the edition. The flute expert Rachel Brown has provided commentary with details regarding performancepractice. / Flûte traversière / Barenreiter

It was in 1990 - more than 250 years after the publication of 'Il Pastor Fido' - that the masterful forgery was exposed: not Antonio Vivaldi but in fact the French composer Nicolas Chédeville (1705-1782) turned out to be the true author of this sonata collection, which was subtly foisted upon the unsuspecting Parisian public in the middle of the 18th Century, at the height of Vivaldi's popularity in France. Vivaldi himself never came to know anything of the misuse of his name and musical intellectual property.'Il Pastor Fido' offers a 'Mélange' of very simple, movements and gallantries in the French style, as well as some throughout original movements of exceptionally fine music and powerful compositional ideas. Approximately ninety percent of 'Il Pastor Fido? is Chédeville's own work - for the remainder, he adopted and built upon themes (or those which he thought to be) by Vivaldi, all the while demonstrating a thorough understanding of the style that he was striving to imitate.As with all of Chédeville's other works and numerous other collections from the time, the original title mentions a series of instruments, all of which are suitable for performing these sonatas: the musette, hurdy-gurdy, flute, oboe and violin. Whilst the first two, which were popular instruments at the time and corresponded to the Arcadian sensibilities of the Age of Enlightenment, have long since been out of fashion, the flute is particularly well suited today to reflect the pastoral character - noted in the title of the collection ('Il Pastor Fido?: the Faithful Shepherd) - of the music.The Bärenreiter Urtext edition was edited by the reputable Vivaldi scholar and conductor Federico Maria Sardelli. In addition to the musical text of the six sonatas, it contains a detailed preface (German / English), which not only tells the enthralling story of the forgery and reveals the 'ingredients? required for such a composition. It also contains inspiring information on performance practice, whilst presenting a critical report with references to readings and editorial decisions. / Flûte (ou Hautbois, Violon) Et Basse Continue

This quartet collection of 13 keyboard, vocal and instrumental pieces covering the Baroque to the 20th Century periods can be played together in harmony by any number or combination of instruments. Woodwinds, brass, strings and percussion can play in like-instrument or mixed instrumentation. It's an all-purpose folio that makes classical music fun! Contains: Calm Sea, Opus 3, No. 2 (Schubert) * Dedication, Opus 14, No. 1 (Franz) * Frolicher Landmann (Schumann) * March (Mozart) * Minuet (Mozart) * Music For Queen Mary (Purcell) * Prayer (Humperdink) * Promenade (Mussorgsky) * Salute (Byrd) * Spanish Dance No. 1 (Granados) * Stoptime Rag (Joplin) * Waltz (Schubert).

For Sophie Dufeutrelle, Professor of Flute at the Ecole Nationale de Musique de Villeurbanne, an intense pedagogical activity goes hand in hand with composition, an area in which she has received several commissions from esteemed soloists such as Maxence Larrieu and Philippe Bernold. Written in 2002 for a Flute Orchestra of around 20 instruments (from the Piccolo to the Octobass), Marine belongs to a tradition cherished by painters since the 16th century: the maritime landscape. The 1st movement (Mist) opens onto a lengthy section largely dedicated to improvisation in the spirit of Walter Thompson's soundpainting: using finger movements, the conductor signs to the musicians the type of motif (calm sea, swell, whistling buoys, seagulls and fishing boats) that will insert itself ad libitum between two lines of waves. The 2nd movement, more traditional, floats a Song of heartbreaking melancholy followed by a light, lively Dance that swirls the heart into joyful eddies. Written for intermediate-level flautists (with one part reserved for beginners), this piece, with its variety of atmospheres, concludes on a high note ' in the joy of making music together!

The Boosey and Hawkes Bartók Edition showcases brand new stylish arrangements of highlights from the leading twentieth century composer for developing musicians to learn and enjoy.Bartók for Flute features selected highlights from Bartók's most popular pedagogical repertoire including For Children, Mikrokosmos, Romanian Folk Dances, Romanian Christmas Carols and others, arranged for flute with piano accompaniment by Hywel Davies. An accompanying audio CD features demonstration and backing tracks. / Flûte Et Piano

Par SAUMELL MANUEL. Select 'Contradanzas Habaneras' by 19th century Cuban composer Manuel Saumell (1817-1870). Saumell is known as the 'Father of nationalism in Cuban music'. In more than 50 Contradanzas Habaneras, Saumell never repeated himself, for within those 8 or 16-bar phrases, he was capable of astounding rhythmic and melodic invention. This group of contradanzas were originally written for the piano and arranged here for flute and guitar by Elias Barreiro. Presented in standard notation only with separate pull-out sections for guitar and flute. / Niveau : Intermédiaire à Avancé / Latin American - Duets / Recueil / Guitare et Flûte Traversière

Par DVORAK ANTONIN. Antonin Dvorak?s symphonic poem Vodnik (The Water Goblin) was inspired by a poem penned by 19th century Czech poet Karel Jaromir Erben and consists of seven themes, representing characters in the poem. This flute choir arrangement by Linda Kirkpatrick includes four of the themes, opening with the theme of the title character, the water goblin, and closing with the theme representing the misery of the underworld. / Date parution : 2022-11-29/ Répertoire / Ensemble de Flûtes

This text covers every possible style appropriate to an intermediate book for woodwinds. It includes music from the Baroque, Classical, Romantic, and Twentieth Century eras while representing more than a dozen countries. Original compositions are included to strengthen young artist skills in developing both facility and tone. The musical collection provides a diverse selection of quality repertoire each presenting composer information, nationality, and music terminology. Includes: challenging and rewarding music in a range that explores both the high and low register - musical exercises to teach phrasing - long tone exercises - articulation patterns - variety of tempos, dynamics, time and key signatures - fun, quality music that motivates practicing and performance. / Flûte

Giulio Briccialdi (1818-1881) has been one of the major European flutists of the Nineteenth Century. Praised by coeval critics as 'the first among the living flutists? in a period when virtuosos were reaching extraordinary levels, Briccialdi was a unique artist with a quintessentially Romantic personality. His refined activity as a composer is nowadays mostly known thanks to his paraphrases on operatic themes and to his didactic output, but it is through his concertos - a real cornerstone in the instrumental virtuosic repertoire of the 1800s - that Briccialdi exploits the pinnacle of his opera-influenced style. Briccialdi's concertos are intended for technically and stylistically advanced performers. / Flûte Traversière Et Piano

This Mazurka de Salon for flute and piano with its delightful elegiac and virtuoso passages is a character piece full of contrasts - moderate in difficulty, it represents a valuable addition to the repertoire for ambitious amateur players.Along with his younger brother Carl (1825-1900), Albert Franz Doppler (1821-1883) was one of the most celebrated flautists of the nineteenth Century. Their virtuoso duo playing was greatly admired and they captivated audiences in the musical capitals of Europe with works they had composed themselves.In 1842 the brothers were founder members of the Vienna Philharmonic orchestra. After spending some time as principal flautist at the Bucharest Opera (1835) and in the orchestra of the Hungarian National Theatre (1841), Franz Doppler decided to return to Vienna, where he worked as principal flautist and conductor at the Court opera and was appointed professor at the Conservatoire in 1865. Awarded the Franz-Joseph medal by the Kaiser in 1881, he died in Baden near Vienna in 1883. / Flûte Et Piano