7 European Salon Pieces. In the 19th Century nationalist themes came into fashion. Composers drew on songs and dances from their native lands, working them into paraphrased adaptations, pot pourri arrangements and sets of variations or incorporating folk elements from various cultures in their compositions. Flautist Wilhelm Popp (1828-1902), who wrote music for his instrument at every level of difficulty, also took up this popular trend. In this collection seven of his ?easily playable? compositions have been chosen with musical links to different European countries. Here again Popp shows his ability to distil the essence from musical styles and fashions of his time, setting lyrical and virtuoso passages so well for the instrument that their effectiveness far outweighs any difficulties. The popularity of his pieces for tuition purposes, school concerts or youth music competitions remains undiminished to this day. This edition is essentially based on the first printed versions of these pieces ? with just a small number of printing errors and inconsistencies corrected without comment.

Par CHARRIER VINCENT / RAVEZ PASCAL. / Niveau : Assez Facile / classique / Répertoire / Flûte Traversière et Piano

Par DUBOIS PIERRE-MAX. / Niveau : Facile / Recueil / Flûte Traversière et Piano

Par GUIOT RAYMOND. / Niveau : Assez Facile / classique / Répertoire / Flûte Traversière et Piano

Malcolm Arnold wrote this little fantasy in the early 1960s as a present for his children Katherine and Robert to play together. Even as a miniature it has many of the hallmarks of the Arnold style such as the evocative melodic writing together with the occasional dark dissonance. It was written at a time when Arnold was deeply into film music. Perhaps this is why in the famous film Whistle Down the Wind the main theme is for flute/piccolo and turns out to be not entirely dissimilar to the theme found in this fantasy.

Flute teaching material-Woodwind World: Flute Book 2 comprises arrangements of Traditional Baroque and Classical pieces edited with regard to current concepts of performance practice. Some additional editorial suggestions have been made to assist performers students and examination candidates in developing their own interpretations. Four of these pieces are unaccompanied.The solo flute part is also included on a separate insert.