Noteworthy Sheet Music, LLC

Uncommon Sheet Music for Flute and Alto Flute

duet

  • Devienne Op.10No.1 Fl-Fl nsmSonata in D Major, Op.10, No.1, by François Devienne

    Duet for Two Flutes

    Score and Parts, PDF $9.99

    François Devienne (1759-1803) was a French composer, flutist and bassoonist, as well as a professor at the Paris Conservatory. His compositional output included: 12 operas; many concerted pieces for various wind instruments, with orchestra; overtures; concertos, quartets, trios, sonatas, etc. for flute, piano, and other instruments; 12 suites; numerous romances, chansons, etc.; and an influential flute method book, Méthode de flûte (1795).  

    Noteworthy Sheet Music published this edition of Devienne’s Sonata in D Major, Op.10, No.1 at the suggestion of flutist Richard A. Evans, who long ago obtained the duet from the Library of Congress and believed it undeserving of its current obscurity. We at NSM agreed that the duet, which has two movements, Allegro spirituoso and Rondo: Allegro poco presto, should be made more readily available to present-day musicians and audiences. Our edition provides both score and parts, and incorporates articulation and dynamic edits supplied by Mr. Evans.

    Score, 10 pages; Flute-1 part, 5 pages; Flute-2 part 5 pages; Total, 24 pages.

  • dieter the golden reade flute nsmThe Golden "Reade" Flute, by Eugene A. Dieter

    Flute Part and Piano Score ― PDF $7.99

    Elmer Reade (1898-1986), to whom The Golden "Reade" Flute is dedicated, served a long and distinguished career, first as a flutist with the U.S. Army Band and then as a conductor and music director of the Air Force Band at Mitchell Field, New York.  Eugene A. Dieter graduated from the first class of the US Army Music School in 1941 and was appointed a bandmaster.  Following the Second World War, Dieter accepted a bandmaster position with the Air Force Band and remained active until his retirement in 1966.  Likely, it was as an Air Force band colleague of Elmer Reade's that Dieter was inspired to compose The Golden "Reade" Flute. (excerpted from the foreword © by P. H. Bloom)

    Not at all militaristic in character, The Golden "Reade" Flute is more a lovely barcarole, a single Andante moderato movement in 6/8 time.  It offers interesting writing for both parts, so flutist and pianist will be equally pleased.  The title refers to the gold flute by William S. Haynes upon which Reade regularly performed.

    Click to preview p1 of The Golden "Reade" Flute score for flute and piano.

    Piano score, 4 pages; Flute part, 2 pages. 


  • dressler portrait charmant nsmPortrait Charmant, by Raphael Dressler

    Gassett Collection - Facsimile Edition by Noteworthy Sheet Music

    Part for Flute or Violin and Piano Score, PDF $3.00

    Raphael Dressler (1784-1835) was a well-known Austrian flutist and composer.  He wrote more than 100 compositions for flute and published a popular flute method book, New and Complete Instructions for the Flute.  His career included a position as first flutist in the Kärntnerthor Theater orchestra in Vienna and many years as a teacher and performer in London.  Dressler's Portrait Charmant is the fifth of his Douze Thèmes Favoris pour Pianoforte et Flûte (ou Violon).  The piece is a short work, simple yet indeed charming, and playable by flutists (or violinists) and pianists of many skill levels.  A favorite of ours, Portrait Charmant can also be played effectively as a solo work for flute or violin alone.

    Click to preview p1 of the piano score for Portrait Charmant by Dressler.

    Piano score, 3 pages; Flute or Violin part, 1 page; Total, 8 pages.

  • Drouet Salute-to-NY nsmSalute to New York, A Song for the Flute, by Louis Drouet

    Edited and with a Foreword by P. H. Bloom
    Piano Score and Flute Part, PDF $5.99

    We have posted Peter H. Bloom's fascinating and highly informative © foreword to this edition, in its entirety, elsewhere on our website, under Resources - Reviews & Articles, so please visit that page for additional historical details regarding the composer, Salute to New York, the New York Crystal Palace, and Hall & Son's flutes, beyond the short excerpts and paraphrases included here.

    Louis-Francois-Philippe Drouet (1792-1873) is one of the most highly esteemed flute virtuosi in history.  Innumerable contemporary press accounts of his concert triumphs throughout Europe attest to his technical brilliance and exquisite musicianship.  He was a prolific and accomplished composer, author, flute theoretician, and pedagogue.  His many etudes are still prescribed as tools for flute mastery.  His Method of Flute Playing (1830) and 72 Studies on Style and Taste (1855) provide us with useful information concerning instrumental technique and performance practice in the mid-nineteenth century.

    The exquisite Salute to New York, A Song for the Flute was performed by Mr. Drouet at the Crystal Palace in New York, on the occasion of its grand reopening under the new management of showman P. T. Barnum in 1854.  Our renotated edition of the piece was edited by flutist Peter H. Bloom, who also has enhanced the original piano score with the addition of chord changes in order to broaden the scope of potential players.

    Score, 4 pages; Flute part, 2 pages; Total, 14 pages.

  • Dvorak-Ballada-Op15 AflPf nsmBallada, Op. 15, by Antonín Dvořák

    Transcribed for Alto Flute and Piano by C.A.Vater

    Alto Flute Part and Piano Score, PDF $7.99

    The Czech composer Antonín Leopold Dvořák (1841-1904) first visited England in 1884, at the invitation of the Philharmonic Society of London. He conducted several of his works there and and was commissioned to compose a new symphony for the Philharmonic Society, his Symphony No. 7 in D minor, Op.70, which he conducted in London on April 22, 1885. Dvořák, who was well-received in England for his longer works, including cantatas and oratorios, was asked by London publishers to write shorter compositions as well. The Ballada, composed by Dvořák in late 1884 shortly after he completed his Symphony No. 7, was written specifically for publication in the Christmas edition of the London Magazine of Music. It is a short work of approximately six minutes duration for violin and piano. Written in the key of D minor, the Ballad's outer sections are solemn and melancholy while the contrasting central Allegro agitato is fervid and intense. The piece works nicely on alto flute, and our transcription required few adaptations from the original violin part.

    [Sources for Dvořák biographical information: Baker's Biographical Dictionary of Musicians (Eighth Edition, Revised by Nicolas Slonimsky) and the internet website http://www.antonin-dvorak.cz/en/ballad.]

    Score, 8 pages; Alto Flute part, 3 pages; Total, 14 pages.

     

  • JPs_piano__Alto_flute_nicely_cropped_with_Gould_includedRomantische Stücke, Op.75, by Antonín Dvořák

    Transcribed for Alto Flute and Piano by J.W.Pratt and C.A.Vater

    Alto Flute Part, PDF $6.99

    Antonin Dvorak's Romantische Stücke (Romantic Pieces) was composed originally as a trio for two violins and viola but was later rearranged by the composer as a piece for violin and piano.  We created a transcription of the violin part for alto flute - click here to preview p1.  The piano part is readily available in the public domain as a free pdf download of the score for violin and piano.  Here is a link to one such source: Piano Score.

    Alto Flute part, 7 pages; Total, 10 pages.

     
  • Dvorak Sonatina Op.100 nsmSonatina, Op.100, by Antonín Dvořák 

    Transcribed for Alto Flute and Piano by J.W.Pratt and C.A.Vater

    Alto Flute Part, PDF $11.99

    Czech composer Antonin Dvorak wrote his charming Sonatina in G major for violin and piano in 1893, during his stay in the United States.  Intended for Dvorak's own children but no less delightful for 21st century players of all ages, the piece is comprised of four short movements.  We provide here a transcription of the violin part for alto flute, which suits the "New World" feeling especially well.  Click to preview p1 of the alto flute part.  The piano part is readily available in the public domain as a free pdf download of the score for violin and piano. Here is a link to one such source: Piano Score

    Alto Flute part, 13 pages; Total 16 pages.

     

     

     

     

  • Dvorak Sonatina-Op100 cl nsmSonatina, Op.100, by Antonín Dvořák

    Transcribed for Clarinet in A (and Piano) by J.W.Pratt and C.A.Vater

    A-Clarinet Part, PDF $11.99

    From 1892 to 1895, Czech composer Antonin Dvorak (1841-1904) was in the United States, serving as the director of the National Conservatory of Music in New York City. He wrote his Sonatina in G major (Opus 100, B. 183) for violin and piano in 1893, and in some ways it reminds us of his triumphant Symphony No. 9, "From the New World", which was composed the same year. The Sonatina was written for and dedicated to Dvořák's own children. It has an average duration of 20 minutes and consists of four movements: I. Allegro risoluto; II. Larghetto (Indian Lament); III. Scherzo. Molto vivace; and IV. Finale. Allegro.

    In transcribing this popular work for clarinet, we have incorporated several changes in the part to account for sonic differences between the clarinet and the violin. In so doing, every effort has been made to maintain the spirit and character of the original composition. In places the New World feel is even stronger with a wind instrument. We provide here our transcribed A-clarinet part only; Dvořák's original piano part works well with the new clarinet part, and the score for violin and piano is readily available in the public domain as a free pdf download from imslp.org.

     

    A-Clarinet Part, 11 pages; Total, 14 pages.

  • elgar chanson-de-matin afl-and-pf nsmChanson de Matin, Op.15, No.2, by Edward Elgar

    Transcribed for Alto flute and Piano by C.A.Vater

    Alto Flute Part and Piano Score, PDF $6.99

    Edward Elgar composed his Chanson de Matin for violin and piano c.1889-1890.  The two companion pieces, Chanson de Matin (No. 2) and Chanson de Nuit (No. 1), together constitute his Op.15, and both pieces were later arranged for small orchestra by the composer.  Chanson de Matin was received with great enthusiasm, and its initial and lasting popularity can be attributed largely to its strong melodic appeal.  Enduring public affection for the piece has spawned the creation of numerous arrangements and transcriptions, including renditions for cello and piano, viola and piano, flute and guitar, piano solo, organ solo, and string quartet.  Noteworthy Sheet Music offers two of our own transcriptions of the lovely Chanson de Matin, one for alto flute and piano and one for C-flute and piano.

    Alto Flute part, 2 pages; Piano Score, 4 pages; Total, 12 pages.

  • elgar.chanson de matin.flpf.nsmChanson de Matin, Op.15, No.2, by Edward Elgar

    Transcribed for Flute and Piano by C.A.Vater

    Flute Part and Piano Score, PDF $6.99

    Edward Elgar composed his Chanson de Matin  for violin and piano c.1889-1890.  The two companion pieces, Chanson de Matin (No. 2) and Chanson de Nuit (No. 1), together constitute his Op.15, and both pieces were later arranged for small orchestra by the composer.  Chanson de Matin was received with great enthusiasm, and its initial and lasting popularity can be attributed largely to its strong melodic appeal.  Enduring public affection for the piece has spawned the creation of numerous arrangements and transcriptions, including renditions for cello and piano, viola and piano, flute and guitar, piano solo, organ solo, and string quartet.  Noteworthy Sheet Music offers two of our own transcriptions of the lovely Chanson de Matin, one for alto flute and piano and one for concert flute and piano.

    Click to preview a page of our transcription of Elgar’s Chanson de Matin for flute and piano.

    Flute part, 2 pages; Piano Score, 4 pages; Total, 12 pages.

  • Berceuse, Op.16, by Gabriel Fauréfaure berceuse nsm

    Transcribed for Alto Flute and Piano by C.A.Vater

    Piano Score and Alto Flute Part, PDF $6.99

    Gabriel Fauré composed his Berceuse(Op. 16) for violin (or cello) and piano in 1878-1879, and it was first published by J. Hamelle, Paris.   To this day, the Berceuse remains one of Fauré's most beloved and popular works.  The piece is simple but beautiful, short, with a quiet sweet melody that appeals to both performers and audiences alike.  It is no wonder that over the years the Berceuse has been transcribed for many other instruments; arrangements have been created for solo piano, viola, flute, alto saxophone, flute and harp, and string quartet, in addition to the composer's own arrangement for violin and orchestra.

    Now, in response to an excellent suggestion we received from one of our customers, we add our own version of the Fauré Berceuse, a transcription for alto flute and piano.  Perhaps we are biased, but we think the alto flute is a wonderful instrument choice for this lullaby.   The piece is suitable for players of all levels.  Click to preview a page of the Fauré Berceuse score for alto flute and piano.

    Alto Flute part, 2 pages; Piano Score, 5 pages; Total, 12 pages.

  • faure piece nsmPièce (Vocalise-Étude), by Gabriel Fauré

    Transcribed for Alto Flute and Piano by C.A.Vater

    Alto Flute Part and Piano Score, PDF $4.99

    Vocalises are songs without words written to provide technical challenges for singers; they are designed to develop flexibility and control, and thus often serve as vocal warm-up exercises.  Gabriel Fauré composed his Vocalise-Étude in 1906, and it was published by Leduc the following year.  The original piece, in the key of E minor and marked Adagio molto tranquillo, includes a piano accompaniment and incorporates various difficulties for the vocal soloist, including wide intervals, unexpected harmonies, and demanding rhythms.

    Fauré's Vocalise-Étude has long been recognized as a particularly lovely and poignant piece of music, not merely a vocal exercise but a musical work of intrinsic beauty.  Under its alternative name Pièce, the Vocalise-Étude has been transcribed for various orchestral instruments, including bassoon and piano, flute and piano, and oboe and harp.  We at Noteworthy Sheet Music think the alto flute, with its rich, mellow tone, is the perfect instrument for this moving and somewhat melancholy Fauré melody.  Our transcription for alto flute and piano is based on the version of the Vocalise-Étude for medium voice, in the key of D minor, published by Alphonse Leduc in 1907 and now in the public domain.

    Alto Flute part, 1 page; Piano Score, 3 pages; Total, 8 pages.

  • Faure Sicilienne op78 Afl nsmSicilienne, Op.78, by Gabriel Fauré

    Transcribed for Alto Flute (and Piano) by C.A.Vater

    Alto Flute Part, PDF $3.00

    Sicilienne (Opus 78) was composed by Gabriel Fauré in 1893 and first published as a chamber music version for solo cello or violin with piano accompaniment in 1898.  Numerous transcriptions of this popular piece have been made, including arrangements for flute and piano, viola and piano, horn and piano, flute and harp, 2 flutes and piano, flute and clarinet, and piano solo, among others.  Our alto flute part is a transcription based on the original violin and cello parts of the edition published by J. Hamelle in 1898.  We provide only the transcribed alto flute part; the piano accompaniment is readily available as a free pdf download of the original score for piano and cello, now in the public domain.

    Alto Flute part, 2 pages of music; Total, 4 pages.

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  • Foster - Old Folks; Oh! Susanna - Vo/Pf/Fl/VcOld Folks at Home and Oh! Susanna, by Stephen Foster

    Arranged with Flute and Cello ad lib by John W. Pratt

    Flute Parts, Cello Parts, Voice Parts, and Piano Scores ― PDF $7.99

    The following excerpts are taken from John W. Pratt's foreword to the edition:

     

    When a Golden Oldie comes to mind, Doo-dah! Doo-dah!

    Comic, sad, or any kind, Oh!  Doo-dah-day!

    Jeanie, Swanee, Kentucky, Joe,  Doo-dah!  Doo-dah!

    Beautiful, dreamy, fast, or slow, Oh!  Doo-dah-day!

    I'll bet I know who wrote it, he wrote them night and day,

    Stephen Foster wrote it, he'll never go away.

     

    Stephen Foster was born in Lawrenceville, Pa., on July 4, 1826...He wrote over 200 songs, including 135 parlor songs, 28 minstrel songs, and 21 hymns and Sunday school songs. A remarkable number are memorable, as the ditty above will attest to anyone with anything like my background. One wonders why. The harmonies and rhythms are basic, as are the forms and rhyme schemes (see above), the music is repetitious, and the vocal range rarely goes outside an octave (a great benefit for community singing). Yet the fit is so natural and the pacing so well judged that the songs are ideally effective and diabolically catchy. Foster is perhaps, though on a different plane, the Mozart of his field...

    For a pianist playing several stanzas at a sing-along, Foster's songs do become a little dull. But their very simplicity, repetitiousness, and familiarity abet variation as, again on a different plane, chorales serve Bach chorale preludes. Like chorale preludes, the piano parts here always incorporate the melody, so they can be played solo or to accompany amateur singers. It struck me that they could be enhanced by optional flute parts. After writing them, I discovered that, according to his brother Morrison, Foster himself "delighted in playing accompaniments on the flute...As the song went on he would improvise...the most beautiful variations upon its musical theme." If Foster's improvisations were like the one his brother published, however, they just varied the melody itself in the manner of the period. My game is more ambitious, as you will easily see. I added optional cello parts, mostly for color, as in the Haydn trios but superficially more interesting for the cellist. (Again we are on a different plane, of course.)

    "Oh! Susanna," one of the best-known American songs by anybody, is Foster's "Erlkönig." (Speak of different planes!) With its nonsensical lyrics and polka beat, it is clearly comical, and I treated it accordingly. It was written in Cincinnati, possibly for a social club, first performed at an ice cream saloon in Pittsburgh in 1847, and published in 1848. When no American song had sold over 5,000 copies, it sold over 100,000. It earned Foster only $100, but its popularity led to a publisher's offer, convincing him to become a professional songwriter, America's first.

    "Old Folks at Home" established Foster as a truly American composer. It was written in 1851 for a blackface troupe whose leader paid Foster about $15 to be credited for it. When almost finished, Foster asked his brother for "a good name of two syllables for a Southern river." He rejected Yazoo and Pedee, but was delighted with Swanee, a shortening of Suwanee, a small river in Florida which his brother found in an atlas. Though about a slave's nostalgia for home, I find its theme universal and melancholy and I resisted the temptation to jazz it up. Please try, at least, a slowish tempo.

    ― John W. Pratt, May 27, 2013 ©

    Flute parts, 2 pages; Cello parts, 2 pages; Voice parts, 2 pages; Scores, 7 pages; Total, 18 pages.

  • Furstenau Adagio-Rondo nsmAdagio et Rondo Brillant, Op.95, by A. B. Fürstenau

    Gassett Collection - Facsimile Edition by Noteworthy Sheet Music with a Foreword by Peter H. Bloom

    Flute Part and Piano Score, PDF $12.00

    Anton Bernhard Fürstenau (1792-1852) was among the most revered flutists of the 19th century.  Following his appointment to the post of principal flute for the Royal Chapel at Dresden in 1820, Fürstenau became a valued colleague and close personal friend of the court's music director, Carl Maria von Weber.  The influence of Weber's dramatic melodic gestures and edgy harmonic shifts can be heard in this passionately evocative Adagio et Rondo Brillant.  An NSM favorite!  

    Piano score, 12 pages; Flute part, 4 pages; Total, 20 pages.

  • Gabrielsky_Op.71_imageAdagio et Variations pour la Flûte sur un Thême de Caraffa, Op. 71, by W. Gabrielsky

    Gassett Collection - New Edition by Noteworthy Sheet Music

    Flute Part and Piano Score, PDF $18.75

    Johann Wilhelm Gabrielski (or Gabrielsky), 1795-1846, was an acclaimed German flutist and composer from Berlin.  In 1814 Gabrielski secured a position as flutist at the theatre in Stettin and within two years was appointed to the Royal Court.  Gabrielski's compositions, of which there are more than 100, were highly esteemed and popular in his day.  Although these works have much to offer modern day flutists as well, Gabrielski's music is neither widely known nor readily available today.  The Adagio et Variations pour la Flûte, Op. 71, exploits melodic material by Michele Enrico Carafa (Caraffa) di Colobrano (1787-1872), a Naples born musician who had a remarkably successful career in Paris as a composer for the Opéra-Comique and as a professor of composition and counterpoint at The Conservatoire.  The work showcases the flutist's virtuosity, atop a relatively uncomplicated piano accompaniment.  Click to preview p1 of the score.

    Flute part, 11 pages; Piano Score, 16 pages; Total, 31 pages. 

  • Gade FantasyPieces Op43 Afl nsmFantasiestücke, Op.43, by Niels W. Gade

    Transcribed for Alto Flute and Piano by John W. Pratt

    Alto Flute Part, PDF $6.99

    Niels Wilhelm Gade (1817–1890) became the preeminent figure in 19th century Danish musical life after an early success in Copenhagen and five years in Leipzig as Mendelssohn's assistant and successor.  His Fantasiestücke (Fantasy Pieces, Opus 43) for clarinet (or violin) and piano were published in 1864, apparently his only work published that year although others were in progress.  They are dedicated to the clarinetist "Herrn Kammermusiker Mozart Petersen."  Our flute transcriptions take into account the nature of the flute and the discrepancies between Gade's original score and the clarinet and violin parts.  Click to preview p1 of the Alto Flute part.  The piano score is readily available in the public domain, as a free pdf download of the score for clarinet and piano.  Here is a link to one such source: Piano Score

    Alto Flute part, 7 pages; Total, 10 pages.

  • Gade Fantasy-Pieces-Op43 Flute nsmFantasiestücke, Op.43, by Niels W. Gade

    Transcribed for Flute and Piano by J. W. Pratt

    Flute Part, PDF $6.99

    Niels Wilhelm Gade (1817–1890) became the preeminent figure in 19th century Danish musical life after an early success in Copenhagen and five years in Leipzig as Mendelssohn's assistant and successor.  His Fantasiestücke (Fantasy Pieces, Opus 43) for clarinet (or violin) and piano were published in 1864, apparently his only work published that year although others were in progress.  They are dedicated to the clarinetist "Herrn Kammermusiker Mozart Petersen."  Our flute transcriptions take into account the nature of the flute and the discrepancies between Gade's original score and the clarinet and violin parts.  The piano score is readily available in the public domain, as a free pdf download of the score for clarinet and piano. Here is a link to one such source: Piano Score

    Flute part, 7 pages; Total, 10 pages.

  • Glazunov Elegy Cl nsmElegy, Op.44, by Alexander Glazunov

    Transcribed for Bb Clarinet (and Piano) by John W. Pratt

    Clarinet Part — PDF $3.99

    Alexander Konstantinovich Glazunov (b. St. Petersburg, 1865; d. Paris, 1936) was a major composer in the late Russian romantic tradition. His Elegy, Op.44, was written for viola and piano in 1893, and has been transcribed by John W. Pratt for Bb clarinet. The piece is about 6 minutes long, elegiac but not lugubrious. It consists of a lovely melody in 9/8 enhanced by a simple but warm piano accompaniment. The viola melody is readily transcribed for other instruments, since it is without double stops. The piano part is freely available at IMSLP.org.

    Clarinet part, 2 pages; Total, 6 pages.

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  • Hauptmann Bereavement Afl Pf nsmLento - Bereavement, by Moritz Hauptmann

    Transcribed for Alto Flute and Piano by C. A. Vater
    Piano Score and Alto Flute Part, PDF $3.99


    Hauptmann's 3 Violin Duos, Op.16 were first published in 1832. The Lento (Bereavement) from Op.16 later was arranged for violin and piano by the renowned violinist, violist, and composer Heinrich Wilhelm Ernst. It is this arrangement by Henri Ernst, published in 1880, that served as the basis for NSM’s transcription of the piece for alto flute and piano. The mournful simplicity of the Lento is perfectly captured and beautifully rendered by the alto flute.

    Alto Flute part, 1 page; Piano Score, 2 pages; Total, 6 pages.

     

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