Flute Quartet

SKU: BT.EMBZ14973

Some with alto flute. By László Zempléni. By Bela Bartok. EMB Music of Bela Bartok. Set (Score & Parts). Composed 2016. 52 pages. Editio Musica Budapest #EMBZ14973. Published by Editio Musica Budapest (BT.EMBZ14973).

English-German-Hungari an.

The volume contains selected transcriptions from well-known sets that Bartók wrote for children and young people: For Children, Children's and Female Choruses, 44 Duos and Mikrokosmos. Some are based on folk melodies and some on original themes. The volume consists of 16 pieces. In nine, the bottom part is set for alto flute. The collections serve to draw music students into the realm of a great genius of 20th-century music, while concurrently introducing them to the basic techniques of playing chamber music.

(Movement II from Grand Trio, Op. 90). Composed by Friedrich Kuhlau (1786-1832). Arranged by Hager. For 3 flutes. Grade 4. Score and set of parts. Duration 4 minutes, 30 seconds. Published by Kendor Music Inc

Arranged by Amanda Oosthuizen. For flute. Flute. Classic. Beginning-Intermediate. Book. Published by Kevin Mayhew Publishers

By russian. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 4000 pages. Published by Subito Music.

Collection for solo piano(all C instruments), . 159 pages. Published by Santorella Publications.

Flute Trio

SKU: AY.FRD58

Composed by John La Montaine. Woodwinds - Flute. Fredonia Press #FRD58. Published by Fredonia Press (AY.FRD58).

ISBN 9790302115434.

Prio r to 2018, the Trio Sonata of John La Montaine might as well have not existed. When ALRY Publications became the sole representative for Fredonia Press, this work was not mentioned in the catalogs, nor was any score or manuscript included in the Fredonia archives. Suddenly it resurfaced, a paper copy, bearing a handwritten inscription to Doriot Anthony Dwyer, with the subtitle for 3 Flutes or 30 Flutes or 300 Flutes. The new and freshly re-engraved edition, featuring a full score and parts, consists of three movements: Questioning (a trio version of the opening movement of his Sonata for Solo Flute), Song and Scherzo.

Organ

SKU: SU.80101451

For Organ. Composed by Carson Cooman. Keyboard, Organ. Score. Zimbel Press #80101451. Published by Zimbel Press (SU.80101451).

Scherzo for the Flutes (2017) was written for Thomas Sheehan for his recording project on the 1957 D. A. Flentrop organ in Adolphus Busch Hall at Harvard University. Instrumentation: Organ Duration: 6'30 Composed: 2017 Published by: Zimbel Press.

Bearbeitung fur 4 Floten - Arranged for 4 Flutes. By Felix Mendelssohn. Edited by Cohen, Howard A. For Flute (4). Flotenmusik. Score; Set of Parts. Op.61/1. Published by Baerenreiter-Ausgaben (German import).

Composed by Ralph Vaughan Williams (1872-1958). Edited by Stephen Hogger. For orchestra (2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, bass tuba, timpani, triangle, harp and strings). This edition: paperback. Level B-C (easy - moderately difficult). Study score. 32 pages. Duration 10 minutes. Published by Oxford University Press

By Kevin Kaisershot. For 3 Flutes. Mixed Instruments - Flexible Instrumentation; Trio. Contemporary. Duration 00:02:10

Flute - advanced

SKU: HL.49010646

Composed by Friedrich Zehm. This edition: Saddle stitching. Sheet music. Il Flauto Traverso (Flute Library). Classical. Playing score. Composed 1966. 38 pages. Duration 18'. Schott Music #FTR 85. Published by Schott Music (HL.49010646).

ISBN 9790001093910. 9.0x12.0x0.121 inches.

Die sechs Capricen konnen sowohl in geschlossener Folge als auch einzeln zum Vortrag gebracht werden. Es bleibt ausserdem den Spielern uberlassen, sich drei oder vier Capricen nach eigener Wahl zu einer kurzeren Suite zusammenzustellen.

(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. Format: fakebook (spiral bound). With vocal melody (excerpts) and chord names. Lassical. Series: Hal Leonard Fake Books. 646 pages. 9x12 inches. Published by Hal Leonard.

Composed by Various. With Standard notation. Falls House Press #4F-AK1. Published by Falls House Press (PR.FH0239).

By Arthur Severn. For Flute. Woodwind - Flute Quartet. Level: (IV) (grade IV). 24 pages. Published by Alfred Publishing.

Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Difficulty: medium to medium-difficult. Fakebook. Melody line, chord names and lyrics (on some songs). 413 pages. Published by Hal Leonard

Edited by Amy Appleby. For piano. Format: piano solo book (spiral bound). With fingerings. Renaissance, baroque, classical period, romantic period, impressionistic and 20th century. 400 pages. 9x12 inches. Published by Amsco.

Selected and edited by Denes Agay. Book. Published by Music Sales. (YK20568) By popular demand, a second volume of piano pieces for the beginner and early grade pianist has been compiled by Dr. Agay. Contains rare, original keyboard miniatures of three centuries, some of which have not been in print before.

Edited by Amy Appleby. Collection and examples CD for solo piano. Over 125 great masterpieces from the Baroque, Classical, Romantic, and Modern eras. Series: Piano Treasury Series. 399 pages. Published by Music Sales.

By or arr. Keith Snell. For Flute. Woodwind - Flute Duet. Belwin Master Duets. Level: Intermediate. 36 pages. Published by Alfred Publishing.

(TWV 42:D2 - TWV 42:E1). Composed by Georg Philipp Telemann (1681-1767). Edited by Winfried Michel. For 2 Flutes or 2 Violins and Basso continuo. Set of parts. Published by Amadeus Verlag

By Franz Schubert (1797-1828). Arranged by Geoffrey Emerson. For Woodwind Septet (2 flutes, oboe, 3 clarinets, bassoon). Score and parts. Standard notation

(Organ Demonstrator No. 29). By Bernard Wayne Sanders. For Organ with Narrator. Easy

SKU: HL.48183751

Composed by Jindrich Feld. Leduc. Classical. Softcover. 36 pages. Alphonse Leduc #AL25969. Published by Alphonse Leduc (HL.48183751).

UPC: 888680859343. 9.0x12.0x0.191 inches.

Duo Concertant is a pretty Flute duet by Jind?ich Feld that lasts approximately fifteen minutes. An explanation of the symbols used is given at the beginning of the score. Written in the unique genre of its composer, this difficult duet is divided into five sections. I. Introduzione - Lento II. Toccata ? Allegro assai III. Intermezzo - Tranquillo IV. Scherzo ? Allegro vivo V. Epilogo - Lento This great piece is perfect for a recital or a concert. Jind?ich Feld was born in Prague in 1925. From a musician family, he specialised in Viola and Violin. He composed numerous pieces with a style that mixes his origins and occidental music from the 20th century. He later became composition professor operating worldwide..

(TWV 42:d1 - TWV 42:D3). Composed by Georg Philipp Telemann (1681-1767). Edited by Winfried Michel. For 2 Flutes or 2 Violins and Basso continuo. Set of parts. Published by Amadeus Verlag

Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B, 2 bassoon, bassoon-Co, Hn1, Hn2 , Hn3(chrom.), Hn4(chrom.), 3Trp, 3trombone, timpani, Tr-Gr, Tri, Be, Org, piano-4ms, 2 Violin, Viola, Cello, Double Bass) - Level 5

SKU: BA.BA10303-01

Composed by Camille Saint-Saens. Edited by Michael Stegemann. This edition: Edition of selected works, Urtext edition. Linen. Saint-Saens, Camille. Oevres instrumentales completes I/3. Edition of selected works, Score. Opus 78. Duration 39 minutes. Baerenreiter Verlag #BA10303_01. Published by Baerenreiter Verlag (BA.BA10303-01).

ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.

The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.

I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.

You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...

No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.

On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:

Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.

As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.

It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.

When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.

In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
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