| Quartets for flute Quatuor de Flûtes : 4 flûtes [Conducteur et Parties séparées] EMB (Editio Musica Budapest)
Flute Quartet SKU: BT.EMBZ14973 Some with alto flute. By LászlÃ...(+)
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. $17.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Flute Sessions 2-4 Flutes Quatuor de Flûtes : 4 flûtes Shawnee Press
| | |
| Scherzo for the Flutes Orgue [Conducteur] Zimbel Press
Organ SKU: SU.80101451 For Organ. Composed by Carson Cooman. Keybo...(+)
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. $11.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Scherzo Trio de Flûtes: 3 flûtes [Conducteur et Parties séparées] - Intermédiaire Kendor Music Inc.
(Movement II from Grand Trio, Op. 90). Composed by Friedrich Kuhlau (1786-1832)....(+)
(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
$12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 100 Classic Melodies for Flute Flûte traversière [Livre] - Facile Kevin Mayhew
Arranged by Amanda Oosthuizen. For flute. Flute. Classic. Beginning-Intermediate...(+)
Arranged by Amanda
Oosthuizen. For flute.
Flute. Classic.
Beginning-Intermediate.
Book. Published by Kevin
Mayhew Publishers
$15.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Quartet No. 1 [Conducteur et Parties séparées] Forton Music
2 Fl. Afl. Bfl (2 flutes, alto flute, bass flute) - Advanced SKU: FT.FM592(+)
2 Fl. Afl. Bfl (2 flutes,
alto flute, bass flute) -
Advanced SKU:
FT.FM592 Composed by
P I Tchaikovsky. Arranged
by Robert Rainford. A
flute quartet arrangement
of this great quartet.
Score and parts. Forton
Music #FM592. Published
by Forton Music
(FT.FM592). ISBN
9790570484911. Stru
cturally, this quartet
uses the more standard
classical forms, but
using musical themes that
are distinctly Russian.
Ths first movement is in
sonata form. It's first
theme is fluid, and the
second is initially
stated by the alto flute
against rich harmonies in
the other parts. These
are then developed and
restated in the
recapitulation, before
ending with a
high-spirited coda. The
second movement is based
on the folksong 'Sidel
Vanya', a traditional
song from the Ukraine.
The song is interspersed
with highly expressive
melodies, played twice
over a staccato
accompaniment. The third
movement, marked
'Scherzo' has the robust,
rhythmic character of a
Russian peasant dance.
The central trio pits the
three upper instruments
playing complex
syncopated figures over a
drone in the bass flute,
before a repeat of the
scherzo closes the
movement. The Finale
features two themes, an
exuberant dance and a
song of Slavic
soulfulness. Both these
themes are developed many
ways before a sudden stop
in the music. After a
tiny, slower section, a
whirlwind coda brings the
music to a close. $35.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| 3e Symphonie en ut mineur, op. 78 - Avancé Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
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 -
Superior paper and
binding
$566.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Trio Sonata for 3 Flutes or 30 Flutes or 300 Flutes Trio de Flûtes: 3 flûtes Fredonia Press
Flute Trio SKU: AY.FRD58 Composed by John La Montaine. Woodwinds - Flute....(+)
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. $20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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