Cesar Franck's Sonata for Piano and Violin is one of the most treasured works in the violin repertoire, a masterpiece of cyclic form with a gracefulness and expressive force almost paradigmatic for the age of musical Romanticism. This work was composed in 1886 and was dedicated to the Belgian violinist and composer Eugène Ysaÿe.After Franck's death in 1890 the original publisher of the Sonata, the Parisian house Julien Hamelle, announced an arrangement of the work for flute in 1910. However it has not been possible to locate any copy of this publication. That the flute version of Franck's Sonata has found a permanent place in the chamber music repertoire is primarily the achievement of Jean-Pierre Rampal who frequently performed his own arrangement of the work.There were no idiomatic violin techniques to overcome, and the cantabile solo part, with its broadly arched melodies, seems perfectly natural on a wind instrument. The present flute arrangement largely adopts the original violin part unchanged, merely transposing those passages that go beneath the flute's range. In such cases the change of register begins early enough to avoid disruptions to the melodic line and the musical context. The balance between the solo instrument and the (unaltered) piano accompaniment remains intact. The edition is rounded off by an informative text on the genesis and reception history of the sonata (Ger/Fr/Eng). / Flûte Et Piano

Für Flöte Und Klavier Bearbeitet Von Elisabeth Weinzierl / Edmund Wächter. Par MARAIS MARIN. Marin Marais, the legendary gambist at the court of Louis XIV, mainly left works for his own instrument, which are entirely in the French ‘taste’. Marais points out that, although his works are written for viola da gamba, they can equally be playedon flute, violin or other melody instrument. Five pieces from his “Quatrième Livre de Viole” are presented here in arrangements for flute and piano. These are based on a 1917 English edition for string instruments, which lends the dances a certainromantic charm. The original articulation and dynamics from Marais’ first edition of 1717 have been carefully reintroduced. / Niveau : Intermédiaire / Répertoire / Flûte Traversière et Piano

Saint-Saëns completed the Romance in D Flat Major on 25 March 1871. If in his concertos for solo instrument and orchestra Saint-Saëns freed himself from the Viennese classical model (reconfiguring it with originality but in the light, certainly, of the formal experimentations of Schumann and of Biedermeier virtuosity), in the Romance opus 37 and other works of similar form (opus 27, 36 and 48) he adopted the Romantic ternary Liedform (A-B-A) - in particular that of Schumann's Stücke and Mendelssohn's Lieder ohne Worte - and transcended the idiomaticity of the respective solo instruments, now interchangeable ad libitum (flute or violin, in the case of opus 37), thereby making the pieces more widely usable and emphasizing their cantabile quality. / Flûte (Ou Violon) Et Piano