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Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin
SKU:
CF.MXE219
Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219).
ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches.
Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
2, 2020.
$42.00 - Voir plus => Acheter Délais: 24 hours - In Stock
24 Studies For The Flute, Op.37 (flute) Flûte traversière Leduc, Alphonse
Composed by Theobald Boehm (1794-1881). Leduc. Classical. Softcover. 25 pages...(+)
Composed by Theobald
Boehm
(1794-1881). Leduc.
Classical. Softcover. 25
pages. Alphonse Leduc
#AL21001. Published by
Alphonse Leduc
$17.99 - Voir plus => Acheter
Sonata (Spirit of the Hudson) Flûte traversière et Piano Theodore Presser Co.
Chamber Music Bass Flute, Piano SKU: PR.114418900 Composed by Daniel Dorf...(+)
Chamber Music Bass Flute,
Piano
SKU:
PR.114418900
Composed
by Daniel Dorff. Set of
Score and Parts. 24+8
pages. Duration 14
minutes. Theodore Presser
Company #114-41890.
Published by Theodore
Presser Company
(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,â€
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.
$21.99 - Voir plus => Acheter Délais: 1 to 2 weeks
The Flute Expedition, Volume 1 Flûte traversière Schott
Flute SKU: HL.49047379 42 Imaginative Studies Exploring the Extended Technique ...(+)
Flute
SKU: HL.49047379
42 Imaginative Studies
Exploring the Extended
Technique and Unusual
Sounds. Composed by
Gergely Ittzé and s.
Woodwind Method.
Classical, Instruction,
Technique. Softcover.
Schott Music #ED23693.
Published by Schott Music
(HL.49047379).
$32.00 - Voir plus => Acheter
White Mares of the Moon Harpe, Flûte (duo) Theodore Presser Co.
Chamber Music Flute, Harp SKU: PR.164001780 For Flute and Harp . Co...(+)
Chamber Music Flute, Harp
SKU: PR.164001780
For Flute and
Harp . Composed by Dan
Welcher. Classical. Set
of Score and Parts. With
Standard notation.
Composed Apr-86. Duration
7 minutes. Theodore
Presser Company
#164-00178. Published by
Theodore Presser Company
(PR.164001780).
UPC:
680160037056.
The
American imagist poet Amy
Lowell (1874-1925)
provided both the title
and the substance for
this brief descriptive
work in her poem Night
Clouds. I had been
commissioned by the
flute/harp duo Chaski to
write a piece that had a
different sound than most
flute and harp pieces.
The image of these
elusive beasts cavorting
through the night, before
the appearance of the
tiger sun, seemed to me
perfectly suited for the
flute and harp and would
give me the chance to
write a work for that
combination that did NOT
have overtones of nymphs
and shepherds. I wanted
to make much use of the
harp's more violent
sounds (beating the
strings and the
soundboard, for instance)
as well as its unusual
and idiomatic effects,
such as pedal glissandi.
For the flute, there are
jet-whistle effects,
extremes of register,
pitch-bending and other
decidedly non-pastoral
gestures. The work was
composed in 1986.
--Dan Welcher.
$18.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Favorite Movie Themes - Flute Flûte traversière [Partition + Accès audio] - Facile Hal Leonard
Flute solo songbook and online audio for flute. 15 pages. Published by Hal Leona...(+)
Flute solo songbook and
online audio for flute.
15 pages. Published by
Hal Leonard.
(4) $14.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Zoe and Xena Flûte, Clarinette (duo) Theodore Presser Co.
(A Romp In The Park For Piccolo And Bass Clarinet). Composed by Daniel Dorff. Fo...(+)
(A Romp In The Park For
Piccolo And Bass
Clarinet). Composed by
Daniel Dorff. For piccolo
and bass clarinet.
Contemporary. Set of
performance scores. 32
pages. Duration 7
minutes. Published by
Theodore Presser Company
$21.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Funky Flute - Book 1 Student Flûte traversière Kevin Mayhew
Composed by Heather Hammond. Funky Flute. Tutor. School Start. Book. Published b...(+)
Composed by Heather
Hammond. Funky Flute.
Tutor. School Start.
Book. Published by Kevin
Mayhew Publishers
(KV.3612133).
$8.74 - Voir plus => Acheter Délais: 2 to 3 weeks
Aninventionersary 2 Flûtes traversières (duo) Theodore Presser Co.
For Two Flutes . Composed by Robert Maggio (1964-). Contemporary. Set of p...(+)
For Two Flutes .
Composed by Robert Maggio
(1964-). Contemporary.
Set of performance
scores. With Standard
notation. Composed 2014.
8 pages. Duration 2
minutes. Theodore Presser
Company #114-41786.
Published by Theodore
Presser Company
(PR.114417860).
$11.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Flute Quartet No.1 Quatuor de Flûtes : 4 flûtes [Conducteur et Parties séparées] Theodore Presser Co.
(For 2 Flutes( First Doubling Piccolo), Alto Flute and Bass Flute). By Gary Scho...(+)
(For 2 Flutes( First
Doubling Piccolo), Alto
Flute and Bass Flute). By
Gary Schocker. For Flute
I, Flute II, Piccolo,
Alto Flute, Bass Flute.
Classical. Score and
parts. Standard notation.
19 pages. Duration 14:00
(1) $29.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Flight Flûte traversière Theodore Presser Co.
Composed by Adolphus Hailstork. 4 pages. Duration 3:30. Theodore Presser Compa...(+)
Composed by Adolphus
Hailstork. 4 pages.
Duration
3:30. Theodore Presser
Company
#114-42309. Published by
Theodore Presser Company
$9.99 - Voir plus => Acheter Délais: 1 to 2 weeks
How's the Weather? Flûte traversière et Piano Theodore Presser Co.
Chamber Music Bass Flute, Piano SKU: PR.114423830 Composed by Gary Schock...(+)
Chamber Music Bass Flute,
Piano
SKU:
PR.114423830
Composed
by Gary Schocker. Set of
Score and Parts. 16+8
pages. Duration 12
minutes. Theodore Presser
Company #114-42383.
Published by Theodore
Presser Company
(PR.114423830).
ISBN
9781491136270. UPC:
680160688753.
Schoc
ker has added a major
work to the bass flute
repertory: an 11-minute
piece in three movements
encompassing
neoclassical, jazz, and
Latin dance styles. The
wide range of moods
offers opportunities to
display great versatility
on an instrument often
relegated to the back of
the flute choir.
HOW’S THE WEATHER?
promises to be an
audience favorite.
$16.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Paris Conservatory Flute Album: 16 Short Lyric Pieces for Flute and Piano Flûte traversière et Piano Southern Music Ltd
For Flute and Piano. Composed by Nancy Andrew. Arranged by James Galway. Sout...(+)
For Flute and Piano.
Composed by Nancy Andrew.
Arranged by James Galway.
Southern Music.
Classical.
Softcover. Southern Music
Company #B579. Published
by
Southern Music Company
$22.99 - Voir plus => Acheter Délais: 24 hours - In Stock
The Green Golly Collection Flûte traversière et Piano Theodore Presser Co.
(9 Classic Favorites for Flute and Piano). Composed by Various. Edited by Ba...(+)
(9 Classic Favorites for
Flute
and Piano). Composed by
Various. Edited by
Barbara
Siesel, Keith Torgan.
Arranged
by Bruce Lazarus. For
flute,
piano. Classical. Solo
part
with piano reduction. 28
pages. Duration 0:21:45.
Published by Theodore
Presser
Company
$14.99 - Voir plus => Acheter Délais: 1 to 2 weeks
The Young at Heart Flute Player 6 Flûte traversière Music Distribution Services
Flute SKU: M7.APUE-516025 For Adult Learners & Teenage Learners . C...(+)
Flute
SKU:
M7.APUE-516025
For
Adult Learners & Teenage
Learners . Composed by
Karen North. Sheet music.
56 pages. MDS (Music
Distribution Services)
#APUE 516025. Published
by MDS (Music
Distribution Services)
(M7.APUE-516025).
ISBN
9781875516025.
This
book is written
specifically for adult
learners & teenage
learners and contains
everything needed for a
great start in playing
the flute. There are 30
progressive units, with
new material introduced
gradually. The scales are
related directly to the
pieces, and the exercises
help students practise
new material, or prepare
the difficult sections of
a piece. There is a wide
range of music by
composers such as Mozart,
Beethoven, Bartok and
Dvorak, plus traditional
tunes from around the
world. The arrangements
include solos, duets and
pieces with optional
piano accompaniment
(piano parts in Book 3).
To help students
practise, there are FREE
YOUTUBE recordings for
every piece, as well
piano backing tracks and
duet recordings. The
Young At Heart Flute
Player also features:
Easy-to-read fingering
charts for every note of
the flute Photo guides
for assembling the flute
and cleaning the flute
Manuscript paper Scales
charts Theory reference
section.
$28.95 - Voir plus => Acheter Délais: 4 to 6 weeks
Two Flutes (On the Loose) in Fujian Flûte traversière et Piano [Conducteur et Parties séparées] Theodore Presser Co.
For Two Flutes and Piano. By Gary Schocker. Wind duo. For Flute I, Flute II, Pia...(+)
For Two Flutes and Piano.
By Gary Schocker. Wind
duo. For Flute I, Flute
II, Piano. Score and
parts. 16 pages.
Published by Theodore
Presser Company.
$22.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Concerto No. 2 in D Major for Flute, K. 314 Flûte traversière Lauren Keiser Music Publishing
(With Flute 2 Part). Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by ...(+)
(With Flute 2 Part).
Composed by Wolfgang
Amadeus Mozart
(1756-1791). Edited by
Carol Wincenc. For Flute.
LKM Music. Softcover.
Lauren Keiser Music
Publishing #S112007.
Published by Lauren
Keiser Music Publishing
$14.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Concerto No. 1 in G Major for Flute, K. 313 Flûte traversière Lauren Keiser Music Publishing
(With Flute 2 Part). Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by ...(+)
(With Flute 2 Part).
Composed by Wolfgang
Amadeus Mozart
(1756-1791). Edited by
Carol Wincenc. For Flute.
LKM Music. Softcover.
Lauren Keiser Music
Publishing #S112006.
Published by Lauren
Keiser Music Publishing
$14.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Those Fabulous Flutes Quatuor de Flûtes : 4 flûtes [Conducteur et Parties séparées] - Intermédiaire Belwin
(Flute Quartet (or Optional Flute Choir) with Band Accompaniment). By Jack Bullo...(+)
(Flute Quartet (or
Optional Flute Choir)
with Band Accompaniment).
By Jack Bullock. Concert
Band. Concert Band;
Part(s); Score. Belwin
Concert Band. Grade 3.
162 pages. Published by
Belwin Publishing
$65.00 - Voir plus => Acheter Délais: 1 to 2 weeks
John Williams: The Very Best of John Williams - Flute (Book/CD) Flûte traversière [Livre + CD] - Facile Warner Brothers
Composed by John Williams. For flute. Includes instrumental solo book and accomp...(+)
Composed by John
Williams. For flute.
Includes instrumental
solo book and
accompaniment CD. With
standard notation.
Movies. 9x12 inches.
Published by Warner
Brothers.
(1) $14.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Praise and Worship Hymn Solos (Flute) Flûte traversière [Livre + CD] Hal Leonard
(15 Hymns Arranged for Solo Performance) Arranged by Stan Pethel. Flute solo boo...(+)
(15 Hymns Arranged for
Solo Performance)
Arranged by Stan Pethel.
Flute solo book and
accompaniment CD for
flute solo. 16 pages.
Published by Hal Leonard
(6) $14.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Sounds of Celebration - Flute Flûte traversière [Partition] Daybreak Music
Solos with Ensemble Arrangements for Two or More Players. Arranged by Stan Pethe...(+)
Solos with Ensemble
Arrangements for Two or
More Players. Arranged by
Stan Pethel. (Flute).
Daybreak Choral Series.
Size 9x12 inches. 24
pages.
(19) $16.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Melodious Etudes for Flute Flûte traversière [Partition] - Facile Carl Fischer
By Marco Bordogni. Arranged by Larry Clark/Sean O'Loughlin. flute. Published by...(+)
By Marco Bordogni.
Arranged by Larry
Clark/Sean O'Loughlin.
flute. Published by Carl
Fischer.
$19.99 - Voir plus => Acheter Délais: 1 to 2 weeks
One Hundred Classical Themes - Flute Flûte traversière Music Sales
For flute. Format: flute solo book (excerpts only). Baroque, Classical Period an...(+)
For flute. Format: flute
solo book (excerpts
only). Baroque, Classical
Period and Romantic
Period. 64 pages. 9x12
inches. Published by
Music Sales. (MS.AM84179)
A selection of all the
best-known tunes and
themes in the classical
repertoire, carefully
edited for flute solo.
Includes works by Mozart,
Bach, Beethoven, Chopin,
and many more great
composers.
(1) $17.99 - Voir plus => Acheter Délais: 24 hours - In Stock
The Bluesier Side Of Jazz for Flute Flûte traversière [Partition + Accès audio] - Facile ADG productions
Composed by Andrew D. Gordon. Saddle stitch. Jazz/Flute Instruction. Book/Downlo...(+)
Composed by Andrew D.
Gordon. Saddle stitch.
Jazz/Flute Instruction.
Book/Downloadable
audio/MP3/MIDI Files.
Duration 70 minutes.
Published by ADG
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