Composed by Felix Bartholdy Mendelssohn (1809-1847). Edited by Jasmine Choi....(+)
Composed by Felix
Bartholdy
Mendelssohn (1809-1847).
Edited by Jasmine Choi.
Sws.
Score. 52 pages. Duration
6
minutes. Theodore Presser
Company #114-41935.
Published
by Theodore Presser
Company
Know Before You Blow - Jazz Modes for Flute with CD composed by Chris Tedesco. F...(+)
Know Before You Blow -
Jazz Modes for Flute with
CD composed by Chris
Tedesco. For flute. This
edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
Chamber Music flute, piano SKU: PR.114417750 Composed by Eric Ewazen. Per...(+)
Chamber Music flute,
piano
SKU:
PR.114417750
Composed
by Eric Ewazen.
Performance Score. 12+2
pages. Duration 7
minutes. Theodore Presser
Company #114-41775.
Published by Theodore
Presser Company
(PR.114417750).
ISBN
9781491108161. UPC:
680160636570.
A
beautiful cantabile song
without words, A SONG
FROM THE HEART has all of
Ewazen’sexpressive
elegance, yet is
performable by
student-level players as
well as on formal
recitals.Originally
composed for Trumpet and
Piano, Ewazen created the
flute transcription for
CindyAnne Broz as the
title track for her
Albany CD including three
Ewazen works. A SONG
FROM THE HEART was
originally composed for
Trumpet andPiano and is
dedicated to Dennis Caron
on the occasion of his
retirement. It
wascommissioned by his
wife, Marsha Caron, and
was premiered at
Dennis’s
retirementparty by our
mutual friend Charles
Schlueter, long-time
principal trumpet of
theBoston Symphony. A
SONG FROM THE HEART is
filled with lyricism and
richharmonies, as the
trumpet line sings and
soars over a rich
accompaniment.The flute
version of this work was
written for my dear
friend Cindy Anne Broz,
for herAlbany CD
including first
recordings of 3 of my
flute pieces. Cindy was
wonderfulin helping me
with my flute
arrangement, as I heard
her lovely, bright high
register– hence my
putting some key passages
of the piece up an
octave, shaping the
phrasestructures to
flatter the lyrical flute
sonorities.
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(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 Theobald Boehm (1794-1881). Arranged by James Galway. Southern ...(+)
Composed by Theobald
Boehm
(1794-1881). Arranged by
James Galway. Southern
Music. Classical,
Concert.
Softcover. 44 pages. Hal
Leonard #B576. Published
by
Hal Leonard
Composed by Behzad
Ranjbaran. Premiered by
the Philadelphia
Orchestra, Yannick
Nezet-Seguin, Music
Director, Jeffrey Khaner,
flute; Verizon Hall,
Philadelphia.
Contemporary. Large
Score. With Standard
notation. Composed 2013.
Duration 28 minutes.
Theodore Presser Company
#416-41515L. Published by
Theodore Presser Company
(PR.41641515L).
UPC:
680160621750.
The
melancholic tone of the
Ney (the Persian bamboo
flute) is known for its
alluring sound, emulating
the human voice. In
Persian literature, the
Ney is considered a
mystic instrument capable
of expressing deep human
emotions. In writing my
flute concerto, I aimed
not only to highlight the
modern flautist's ability
to play agile and
brilliant passages but
also to emulate the
delicate sound of the
Ney, particularly in
extended solo flute
passages. Two prominent
characters permeate the
first movement of my
concerto. They are marked
in the score as
lamentoso, and con
spirito, expressing grief
and loss, and joy of
living respectively. The
lament is mostly
expressed in several
extended cadenzas for
solo flute while the con
spirito consists of
robust and energetic fast
sections played by all
forces of the orchestra.
Apart from these two
characters there are
moments of mystery,
comedy and the grotesque,
among others. In the
second movement, the
lyrical and poetic
character of the flute is
prominently presented in
dream-like passages
surrounded by shimmering
and tender orchestral
colors. The solo flute is
left out in an agitated
middle section that
references the first
movement. In the third
section of the movement
the solo flute returns in
meditative fashion
culminating in a duet
with the harp. The third
movement is written as
one continuous quasi
scherzo, challenging the
limits of agility and
brilliance of the flute.
Some of the materials
from the earlier
movements are presented
again with joyous
character. The coda
elevates the concerto
into its brightest and
most festive character,
driving to the end with
relentless energy. The
melancholic tone of the
Ney (the Persian bamboo
flute) is known for its
alluring sound, emulating
the human voice. Â In
Persian literature, the
Ney is considered a
mystic instrument capable
of expressing deep human
emotions.In writing my
flute concerto, I aimed
not only to highlight the
modern flautist’s
ability to play agile and
brilliant passages but
also to emulate the
delicate sound of the
Ney, particularly in
extended solo flute
passages.Two prominent
characters permeate the
first movement of my
concerto. Â They are
marked in the score as
lamentoso, and con
spirito, expressing grief
and loss, and joy of
living respectively.
 The lament is mostly
expressed in several
extended cadenzas for
solo flute while the con
spirito consists of
robust and energetic fast
sections played by all
forces of the orchestra.
 Apart from these two
characters there are
moments of mystery,
comedy and the grotesque,
among others.In the
second movement, the
lyrical and poetic
character of the flute is
prominently presented in
dream-like passages
surrounded by shimmering
and tender orchestral
colors. Â The solo
flute is left out in an
agitated middle section
that references the first
movement. Â In the
third section of the
movement the solo flute
returns in meditative
fashion culminating in a
duet with the harp.The
third movement is written
as one continuous quasi
scherzo, challenging the
limits of agility and
brilliance of the flute.
 Some of the materials
from the earlier
movements are presented
again with joyous
character. Â The coda
elevates the concerto
into its brightest and
most festive character,
driving to the end with
relentless energy.
(Serie II - France 1800-1860). Edited by Arlette Biget, Michel Giboureau. For Fl...(+)
(Serie II - France
1800-1860). Edited by
Arlette Biget, Michel
Giboureau. For Flute.
This edition: Facsimile.
Methodes and Traites.
Score. 2264 pages.
Published by Anne Fuzeau
Productions - France
Chamber Music SKU: PR.164002120 Composed by Dan Welcher. Set of Score and...(+)
Chamber Music
SKU:
PR.164002120
Composed
by Dan Welcher. Set of
Score and Parts. With
Standard notation.
32+16+12+12+12 pages.
Duration 16 minutes.
Theodore Presser Company
#164-00212. Published by
Theodore Presser Company
(PR.164002120).
UPC:
680160037582.
Works
of chamber music
including flute and
strings are not nearly as
numerous as those for
clarinet, or even the
oboe. Probably the reason
for this is the less
assertive, more pure tone
the flute possesses - it
can't compete for volume
or range with the
clarinet, except in its
top octave, and the
oboe's tone is more
penetrating and easily
discerned from within a
string texture.
Consequently, composers
who have written for
flute and strings have
done so in lightweight
divertimento works:
compare, for instance,
the delicate flute
quartets of Mozart with
his monumental quintet
for clarinet and strings.
When Karl and Joan
Karber approached me with
the ideas of writing a
work for flute and string
trio, I originally
thought it would be best
to write a humorous,
rather offhand piece -
but a look at their
repertoire (mostly
comprised of smaller
works of the Rococo
period) convinced me that
it was the last thing
they needed. In spite of
the challenge (or maybe
because of it?), I
determined to write a
large work, and a serious
work. Zephyrus (named for
the God of the West Wind,
in deference to the
flute) is a
three-movement work, with
each movement cast in a
very different form, but
all three being built of
the same twelve-note
series. There is also a
rhythmic motive and a
pair of themes that
appear in all three
movements. The
first movement plays with
the idea of contrast and
persuasion. The flute, at
the outset, is the
hell-for-leather
protagonist, charging and
swooping around the
strings - who seem oddly
unconcerned by his
passion. Indeed, they
have a more somber song
to sing - and as the
movement unfolds, the
flute becomes less and
less active, while the
strings become
increasingly enlivened.
By the midpoint, when all
four instruments are
finally in the same meter
and the same tempo, the
flute's energy has
finally infected the
other three players, and
this energy does not let
up until the movement's
abrupt final cadence.
The second
movement begins with a
tag from the first - as
if the energy left over
was too great to simply
stop. At length, though,
a very poignant flute
melody appears over an
almost bluesy harmony in
the strings. After this
has been fully exposed, a
slight increase in
motion, marked gently
rocking in triplets,
features a theme-fragment
from Leonard Bernstein's
Symphony No. 2 (Kaddish).
Bernstein died as I was
writing this work, and it
seemed quite natural to
encourage what was
already implicit in the
music, and create an
Elegy for L.B. The music
rises and peaks, then in
the recapitulation of the
opening the Kaddish theme
reappears, as the
ensemble suggests a
gentle song of sleep.
The final movement
is a Rondo-Variations
form, with the slight
alteration of adding the
main theme of the second
movement in what would be
the trio of the form. The
ritornello theme is a
kind of ethnic dance
music, almost an allusion
to the Klezmer ensembles
of Eastern Europe. The
successive episodes
between the ritornelli
are loosely organized
variations on the basic
theme, but always
beginning with a metric
modulation, a rhythmic
changing of gears. The
movement reaches and apex
of speed and furious
pulsing, then abruptly
pirouttes, and finishes.
Zephyrus was
written between April and
November of 1990 in
Austin, Aspen, and
Honolulu, and is
dedicated to Karl Kraber
and The Chamber Soloists
of Austin. --Dan
Welcher.
SKU: PR.16400212S Composed by Dan Welcher. With Standard notation. Durati...(+)
SKU: PR.16400212S
Composed by Dan Welcher.
With Standard notation.
Duration 16 minutes.
Theodore Presser Company
#164-00212S. Published by
Theodore Presser Company
(PR.16400212S).
UPC:
680160037605.
Works
of chamber music
including flute and
strings are not nearly as
numerous as those for
clarinet, or even the
oboe. Probably the reason
for this is the less
assertive, more pure tone
the flute possesses - it
can't compete for volume
or range with the
clarinet, except in its
top octave, and the
oboe's tone is more
penetrating and easily
discerned from within a
string texture.
Consequently, composers
who have written for
flute and strings have
done so in lightweight
divertimento works:
compare, for instance,
the delicate flute
quartets of Mozart with
his monumental quintet
for clarinet and strings.
When Karl and Joan
Karber approached me with
the ideas of writing a
work for flute and string
trio, I originally
thought it would be best
to write a humorous,
rather offhand piece -
but a look at their
repertoire (mostly
comprised of smaller
works of the Rococo
period) convinced me that
it was the last thing
they needed. In spite of
the challenge (or maybe
because of it?), I
determined to write a
large work, and a serious
work. Zephyrus (named for
the God of the West Wind,
in deference to the
flute) is a
three-movement work, with
each movement cast in a
very different form, but
all three being built of
the same twelve-note
series. There is also a
rhythmic motive and a
pair of themes that
appear in all three
movements. The
first movement plays with
the idea of contrast and
persuasion. The flute, at
the outset, is the
hell-for-leather
protagonist, charging and
swooping around the
strings - who seem oddly
unconcerned by his
passion. Indeed, they
have a more somber song
to sing - and as the
movement unfolds, the
flute becomes less and
less active, while the
strings become
increasingly enlivened.
By the midpoint, when all
four instruments are
finally in the same meter
and the same tempo, the
flute's energy has
finally infected the
other three players, and
this energy does not let
up until the movement's
abrupt final cadence.
The second
movement begins with a
tag from the first - as
if the energy left over
was too great to simply
stop. At length, though,
a very poignant flute
melody appears over an
almost bluesy harmony in
the strings. After this
has been fully exposed, a
slight increase in
motion, marked gently
rocking in triplets,
features a theme-fragment
from Leonard Bernstein's
Symphony No. 2 (Kaddish).
Bernstein died as I was
writing this work, and it
seemed quite natural to
encourage what was
already implicit in the
music, and create an
Elegy for L.B. The music
rises and peaks, then in
the recapitulation of the
opening the Kaddish theme
reappears, as the
ensemble suggests a
gentle song of sleep.
The final movement
is a Rondo-Variations
form, with the slight
alteration of adding the
main theme of the second
movement in what would be
the trio of the form. The
ritornello theme is a
kind of ethnic dance
music, almost an allusion
to the Klezmer ensembles
of Eastern Europe. The
successive episodes
between the ritornelli
are loosely organized
variations on the basic
theme, but always
beginning with a metric
modulation, a rhythmic
changing of gears. The
movement reaches and apex
of speed and furious
pulsing, then abruptly
pirouttes, and finishes.
Zephyrus was
written between April and
November of 1990 in
Austin, Aspen, and
Honolulu, and is
dedicated to Karl Kraber
and The Chamber Soloists
of Austin. --Dan
Welcher.
Flute Duet. By Jean-Louis Tulou. Arranged by John Cipolla. (Flute). Woodwind. Bo...(+)
Flute Duet. By Jean-Louis
Tulou. Arranged by John
Cipolla. (Flute).
Woodwind. Book and CD
package. Size 9x12
inches. 40 pages.
Published by Schirmer. 2
flutes
The 1848 Edition Plus A Master Class by James Galway. By Theobald Boehm. Arrange...(+)
The 1848 Edition Plus A
Master Class by James
Galway. By Theobald
Boehm. Arranged by James
Galway. For Flute. Opus
15. Published by Theodore
Presser Company.
Composed by Harl
Mcdonald. This edition:
Study Score.
Contemporary. Full score.
With Standard notation.
84 pages. Duration 15
minutes. Theodore Presser
Company #466-41177.
Published by Theodore
Presser Company
(PR.466411770).
UPC:
680160640850. 9 x 12
inches.
Mississippi
I. Father of Waters: born
of the Highlands and the
Lakes; the Glaciers, the
Mountains, and the
Prairies. The picture of
your birth is clounded in
the ice and mists of
ancient ages but your
spirit remains our life
stream. II. The Red Man
knew your bountiful gifts
and gave thanks to the
Great Spirit on your
banks. -- The Spanish and
French Fathers brought
the glory of Christianity
to America on
Mississippi. But all men,
white and dark; --
Indian, Spaniard, and
Negro; Bourbon and
Yankee, combined to make
Mississippi the heart of
America. Saga of the
Mississippi Harl McDonald
Born near Boulder,
Colorado, July 27, 1899
Now living in
Philadelphia The original
suggestion for a
symphonic work on the
subject of the
Mississippi came
indirectly from the late
Booth Tarkington who saw
in it color and movement
and atmosphere
translatable into the
terms of music. In the
course of time, by the
mysterious processes of
composers' chemistry, it
took shape as a tone-poem
of two sections, one
representing the rise of
the great stream from its
primeval geologic
sources, the other the
human history of the
river. Mr. McDonald
devised the following
verbal outline of the
general scheme of his
diptych: I. Father of
Waters: born of the
Highlands and the Lakes;
the Glaciers, the
Mountains, and the
Prairies. The picture of
your birth is clounded in
the ice and mists of
ancient ages but your
spirit remains our life
stream. II. The Red Man
knew your bountiful gifts
and gave thanks to the
Great Spirit on your
banks. -- The Spanish and
French Fathers brought
the glory of Christianity
to America on
Mississippi. But all men,
white and dark; --
Indian, Spaniard, and
Negro; Bourbon and
Yankee, combined to make
Mississippi the heart of
America. The first of the
two movements, beginning
molto andante, is vaguel
modal to hint at
antiquity. It is built
upon the conventional two
themes, with an episode,
poco piu mosso,
misterioso, for
prehistoric murk and
muck. There are various
changes of pace and mood.
The second, Allegro ma
vigorosamente, prefigures
an Indian ceremony. A
theme presented by flute,
clarinet and bassoon is a
Canadian Indian fishing
call collected by the
late J.B. Beck. A later
passage of
quasi-Gregorian chant
identifies the French and
Spanish priests who made
the great river their
highway. The fishing-call
is altered in rhythm and
harmony to represent
Negro field hands and
roustabous. A turbulent
close brings all these
elemts together in the
muddy swirling currents
of the Mississippi. The
work was begun in the
summer of 1945, and was
revised and completed in
the summer of 1947. Harl
McDonald, who is the
manager of The
Philadelphia Orchestra,
has concerned himself
with music as an art, as
a science and as a
business in course of his
career. He was born on a
cattle ranch in the
Rockies, but since his
was a musical family, his
up-bringing combined
piano lessons with ranch
life. Years of study and
professional experience
followed in Los Angeles
and in Germany. In 1927
he was appointed lecuter
in composition at the
University of
Pennsylvania and he has
since then made is home
in Philadelphia. In 1933
under a grant of the
Rockefeller FOundation he
collaborated with
physicists in research
dealing with the
measurement of
instrumental and vocal
tone, new scale divisions
and the resultant
harmonies. In that same
year he was named head of
the University's music
faculty and conductor of
its choral organizations.
In 1939, having been a
member of the Board of
Directors for five years,
he was appointed manager
of The Philadelphia
Orchestra. He continus to
write, but otherwise his
entire attention is now
devoted to managerial
duties. Chief items in
the catalogue of his
compositions are four
symphonies, three
orchestra suites, a
half-dozen tone-poems,
three concertos and
considerable quantity of
choral music.
Flute SKU: HL.48189736 Composed by Sophie Dufeutrelle. Leduc. Classical. ...(+)
Flute
SKU:
HL.48189736
Composed
by Sophie Dufeutrelle.
Leduc. Classical. CD.
Alphonse Leduc #NT20930Z.
Published by Alphonse
Leduc (HL.48189736).
UPC: 888680991470.
9.0x12.0
inches.
Flautist
Sophie Dufeutrelle's Snow
Colour is an excellent,
modern work for solo
Flute. Considering that
Dufeutrelle has been
involved in many
recordings, concerts,
live spectacles, theatre
works, as well as her
teaching works being
regularly used in
conservatoires and music
schools, this work for
the Flute is composed
with much experience and
expertise. Snow Colour
begins with a glossary of
extended techniques for
performance. The work
exploits the Flute with
sound and breath sounds,
ornamentation,
articulation,
improvisation, key
clicks, harmonics and
varied performance
directions, amongst other
aspects. Ideal for
flautists seeking an
introduction to modern
repertoire and extended
techniques, Dufeutrelle's
Snow Colour is
essential..
The Sacred Flute Flûte traversière et Piano [Reduction] Theodore Presser Co.
By Martin Luther; Rowland H. Prichard; Wolfgang Amadeus Mozart; Anonymous; Anton...(+)
By Martin Luther; Rowland
H. Prichard; Wolfgang
Amadeus Mozart;
Anonymous; Antonin
Dvorak; Charles F.
Gounod; Franz Schubert;
Hans Leo Hassler; Johann
Pachelbel; Johann
Sebastian Bach. Edited by
Steven L Rosenhaus;
William Arms Fisher.
Arranged by Johann
Sebastian Bach; Steven L
Rosenhaus. For Flute
Solo, Piano. Classical.
Solo part with piano
reduction. Composed 1999.
32 pages. Published by
Theodore Presser Company.
[Modern Studies for Flute]. Composed by Paul Jeanjean. Leduc. Etude, Classical...(+)
[Modern Studies for
Flute].
Composed by Paul
Jeanjean.
Leduc. Etude, Classical.
Softcover. 76 pages.
Alphonse
Leduc #AL24726. Published
by
Alphonse Leduc
Chamber Music Electronics, Flute SKU: PR.114409570 Composed by Larry Nels...(+)
Chamber Music
Electronics, Flute
SKU: PR.114409570
Composed by Larry Nelson.
Performance score. With
Standard notation.
Composed 1987. 11 pages.
Duration 13 minutes.
Theodore Presser Company
#114-40957. Published by
Theodore Presser Company
(PR.114409570).
UPC:
680160014330.
As
the title suggests, Music
for Flute and Electronic
Sounds explores the
relationships between the
flute - lyrical, then
percussive; sometimes
sustained, other times in
sweeping lines - and
electronic sounds -
sometimes pitched,
sometimes more clangorous
and bell-like. The
individual electronic
sounds were designed and
built using editors that
are now readily available
for synthesizers. This
made it possible to
produce accompanimental
sounds that support and
blend with the
articulation and timbre
of the flute in a way
that until recently was
awkward to accomplish. In
addition to the
electroacoustic blending,
the flute and electronic
sounds also share
compositional structure,
both rhythmic and
melodic. There are two
musical ideas that are
germinal to the pitch and
structure of the work.
The first is a four-pitch
interval set (in two
pairs) of descending
minor third, intervening
ascending major second,
and concluding ascending
major third. This gesture
is presented at the
outset. The second idea
is a palindromic interval
set which appears for the
first time in measure 25.
Formally, the work is in
three parts. Part One is
used to introduce several
musical characters, most
of which are generated
from the materials just
mentioned. Part Two
consists of a
juxtaposition of two of
these characters. One is
jazzy and is generated
entirely by the
synthesizers while the
flute joins the electric
sounds in a serene
chorale. The flute
additionally has the
responsibility of
interrupting the fast
motion of the jazzy
character so that the
chorale can be heard.
Part Three recalls the
first part but also
includes a cadenza, which
uses the serene character
of Part Two as basic
material. After the
cadenza there is a short
section that again
recalls the beginning.
The work closes with a
cadenza-like
flourish.
By Andreas Jakob Romberg. Edited by Jennifer Caesar. For Flute, violin, two viol...(+)
By Andreas Jakob Romberg.
Edited by Jennifer
Caesar. For Flute,
violin, two violas,
violoncello. Score and
parts. 91 pages.
Published by Edition HH
Music Publishers
By Andreas Jakob Romberg. Edited by Jennifer Caesar. For Flute, violin, two viol...(+)
By Andreas Jakob Romberg.
Edited by Jennifer
Caesar. For Flute,
violin, two violas,
violoncello. Score and
parts. 68 pages.
Published by Edition HH
Music Publishers