By Jean-Marc Allerme. For flute and piano. Pop / Jazz. Grade 2. Score and CD. 44 15 pages. Published by Editions Henry Lemoine

Flute, piano

SKU: BR.EB-8285

Composed by York Holler. Solo instruments; Softcover. Edition Breitkopf. World premiere Cologne, February 26, 1984. Music post-1945. Score. Composed 1979. 20 pages. Duration 10'. Breitkopf and Haertel #EB 8285. Published by Breitkopf and Haertel (BR.EB-8285).

ISBN 9790004176016. 9 x 12 inches.

World premiere Cologne, February 26, 1984 For me, one of the most interesting aspects of composition is to draw the most varied consequences from one and the same musical idea. Thus my pieces Umbra, Mythos, Resonance and Moments Musicaux, for all their disparity, form a group of works in that they are based on a common Klanggestalt, a 34-note melodic-harmonic structure from whose formal basis the overall shape of the piece is derived by projection. I have called the method 'Gestalt composition', Thus there are 12 clearly differentiated formal characters or motives, which appear frequently in irregular sequence and are variously interconnected. The 'bell' motives play a special role here: the piano part frequently bears the instruction quasi Campane, Campanelli, Campane grandi.(York Holler, translated by Niall Hoskin)

World premiere Cologne, February 26, 1984.

Edited by Donald Peck. Collection and set of performance parts for flute and piano accompaniment. 153 pages. Published by Carl Fischer.

Arranged by Daniel Kelley. For Flute and piano. Solos. Recital. Level: Intermediate. Piano Score and Solo Part. Published by Last Resort Music Publishing.

Chamber Music flute, piano

SKU: PR.114422710

Composed by Charles Gibb. Set of Score and Parts. 44+8 pages. Duration 24 minutes. Theodore Presser Company #114-42271. Published by Theodore Presser Company (PR.114422710).

ISBN 9781491136072. UPC: 680160688227.

DUOâ €™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.“Ardentâ� � 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.

Flute and Piano

SKU: IS.FP4052EM

Composed by Jef Maes. Woodwinds - Flute. Metropolis Music Publishers #FP4052EM. Published by Metropolis Music Publishers (IS.FP4052EM).

ISBN 9790365040520.

Belg ian 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.

By Franz Schubert. Arranged by Donald Peck. flute, piano and CD. Published by Carl Fischer.

Arranged by Romanov, A. For Flute and piano. Classical. Level: intermediate. Book. 33 pages. Published by XYZ (German import).

By ABRSM. For flute, piano. Published by ABRSM (Associated Board of the Royal Schools of Music).

Chamber Music & Piano Accompaniment 1 Flute 1 Piano - Grade 1

SKU: FL.FX073378

Composed by Pascal Proust. Original Composition. Classical, Educational. Score and Set of Parts. FLEX Editions #FX073378. Published by FLEX Editions (FL.FX073378).

The Flute du cote de chez Proust is a series of pieces composed by Pascal PROUST with piano accompaniment. Each piece is also published separately.

This volume, for beginners, is A visit full of surprises in an incredible zoo where nice elephants applaude a parade of ants... These 6 short pieces for very young flutists reflect those rare moments! ; Instruments: 1 Flute 1 Piano; Difficuly Level: Grade 1; Duration: 6 mn 30 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Pascal PROUST;.

V: Periferia di un paese

SKU: HL.50603660

For Flute and Piano. Composed by Nino Rota. Arranged by C. Tabarelli. Woodwind Solo. Softcover. Ricordi #NR142176. Published by Ricordi (HL.50603660).

ISBN 9781705127810. UPC: 840126952278.

This work is a reworking of the music written by Nino Rota for the film of the same name by Federico Fellini, Oscar winner in 1957. In 1967 Rota composed the music for the ballet La strada for the Teatro alla Scala, in collaboration with the choreographer Mario Pistoni, where Carla Fracci was expected to play the role of Gelsomina. This show has always remained alive in my memory since in those years I began the profession of flutist at La Scala, where I also had the opportunity to perform ballet. The transcription traces the salient moments of the plot, highlighted by the captions taken from the original score. Free of virtuosity, so appreciated by the flutists, it is conceived with the intention of restoring the dramaturgical tension of the Fellini-Rota masterpiece. (C. Tabarelli).

VI: Numero del matto sul filo

SKU: HL.50603661

For Flute and Piano. Composed by Nino Rota. Arranged by C. Tabarelli. Woodwind Solo. Softcover. Ricordi #NR142177. Published by Ricordi (HL.50603661).

ISBN 9781705127827. UPC: 840126952285.

This work is a reworking of the music written by Nino Rota for the film of the same name by Federico Fellini, Oscar winner in 1957. In 1967 Rota composed the music for the ballet La strada for the Teatro alla Scala, in collaboration with the choreographer Mario Pistoni, where Carla Fracci was expected to play the role of Gelsomina. This show has always remained alive in my memory since in those years I began the profession of flutist at La Scala, where I also had the opportunity to perform ballet. The transcription traces the salient moments of the plot, highlighted by the captions taken from the original score. Free of virtuosity, so appreciated by the flutists, it is conceived with the intention of restoring the dramaturgical tension of the Fellini-Rota masterpiece. (C. Tabarelli).

Flute (or Violin) and Piano. By Camille Saint-Saens. Editions Durand. Size 9x12 inches. 12 pages. Published by Durand.