Noteworthy Sheet Music, LLC

Uncommon Sheet Music for Flute and Alto Flute

piano

Scores with at least one part for piano.
  • Fauré - Berceuse - Alto Flute & Piano

    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.

  • Fauré - Pièce - Alto Flute & Piano

    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.

  • Fauré - Sicilienne - Alto Flute

    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/Vc

    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.

  • Fürstenau - Adagio et Rondo Brillant - Fl & Pf

    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 - Adagio et Variations - Fl & Pf

    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 - Fantasy Pieces - Alto Flute

    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 - Flute

    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.

  • Gaubert - Deux Esquisses - Clarinet and Piano

    Gaubert Deux cl pf nsmDeux Esquisses, by Philippe Gaubert

    transcribed for Clarinet and Piano by C. A. Vater

    Clarinet part and Piano score, PDF $9.99

    Philippe Gaubert was a prominent French flutist, composer, and conductor who held a professorship at the Paris Conservatory and principal conducting positions at the Paris Opéra and the Orchestre de la Société des Concerts du Conservatoire. We’ve created a transcription of his Deux Esquisses (Two Sketches) for B♭ clarinet, complete with piano score. These pieces were written for flute and piano but are nicely adaptable for other winds. They were originally published by Heugel & Cie, in 1915 (No.1) and 1914 (No.2), and are now in the public domain. No.1, Soir sur la Plaine (Evening on the Plain), opens intriguingly with the solo instrument playing alone, repeating a single note. This motif sets the lovely, mysteriously forlorn tone of Soir sur la Plaine, and returns multiple times later in the piece. No.2, the second sketch, is Orientale, which, as its name suggests, evokes an atmosphere seemingly strange and foreign, Eastern.

    Piano Score, 10 pages; Clarinet part, 4 pages; Total, 20 pages.

  • Gifford - The Pied Piper of Hamelin - An Operetta

    Gifford PiedPiper nsmThe Pied Piper of Hamelin, by Marjorie Otis Gifford

    An Operetta, from the Poem by Robert Browning
    Facsimile Edition by Noteworthy Sheet Music, LLC, PDF $24.99

    Marjorie Otis Gifford (1909-2003) was a composer, choirmaster, and long-time music and piano teacher in CT and NY.  At age 24, she put music to Robert Browning's classic poem The Pied Piper of Hamelin, creating a children's operetta for her students.  In her preface to the operetta, Mrs. Gifford states that perhaps the best performance of The Pied Piper was at the Lenox School in NYC, where she was teaching in 1938; that production was directed by Antoinette Perry, who later became known as 'Tony' of the Tony Awards.  Indeed, there are additional famous personalities and much fascinating history associated with the remarkable life of Marjorie Otis Gifford.

    The Pied Piper of Hamelin operetta was brought to NSM's attention by Gale Finlayson, daughter of composer and music educator Walter Finlayson, and we created our facsimile edition of the operetta at Gale's request.  Marjorie Otis Gifford and Walter Finlayson were great friends, and in her preface Mrs. Gifford credits Mr. Finlayson with putting her operetta down on paper.  NSM has received permission to publish the operetta from both the executor of Mrs. Gifford's estate and from Deborah O'Connor, the artist who created the charming illustrations that grace the internal pages of the operetta.  We hope that, in publishing our facsimile edition, we can contribute to sustaining the legacy of Marjorie Otis Gifford and enabling future generations of young music students to perform and enjoy her work.

    Please click this link to Preview a few pages of the operetta, including the list of characters.

    Marjorie Otis Gifford's The Pied Piper of Hamelin operetta was performed by the Rutland Youth Theatre of Rutland, VT, on March 2, 2018; click the link to visit YouTube and watch clips of this performance videotaped and posted by Ms. Finlayson.

    Score with music and lyrics for voices and piano accompaniment, 67 pages; text of the Robert Browning poem addendum, 7 pages; Total, 78 pages.

    Please use the Contact Us link to order The Pied Piper of Hamelin operetta PDF.  Upon receiving your request, we will send you an invoice via PayPal and, once PayPal acknowledges receiving your payment, we will email a copy of the PDF to you directly.

  • Glazunov - Elegy - Flute or Alto Flute

    Glazunov Elegy fl afl nsmElegy, Op.44, by Alexander Glazunov

    Transcribed for Flute or Alto Flute (and Piano) by John W. Pratt

    Parts for Flute and Alto Flute, PDF $5.99

    Alexander Konstantinovich Glazunov (1865-1936) was a major composer in the late Russian romantic tradition.  His Elegy, Op.44, was written for viola and piano in 1893.  The viola melody is readily adaptable for other instruments, since it is without double stops, and has been transcribed here by John W. Pratt for either flute or alto flute.  The piece is about 6 minutes long, elegiac but not lugubrious.  It consists of a lovely melody in 9/8 time, enhanced by a simple but warm piano accompaniment.  The NSM edition includes a flute part and an alternative alto flute part, but does not include one for piano, since a suitable score is freely available at IMSLP.org.

    Flute part, 2 pages; Alto Flute part, 2 pages; Total, 8 pages.

  • Goepfart - Zwei Charakterstücke - Alto Flute and Piano

    Goepfart Op27 afl pf nsmZwei Charakterstücke, by Karl Eduard Goepfart

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

    Alto Flute part and Piano score, PDF $8.99

    Karl Eduard Goepfart (1859-1942) was a German pianist, composer and conductor. His Zwei Charakterstücke, Op. 27(Two Character Pieces) were written for oboe and piano and first published in Leipzig in 1888. The two contrasting pieces are the very charming Mässig schnell, gehend and Mässig langsam (in ruhiger Bewegung)with its playful, energetic Lebhaft section. We prepared a transcription of this under-appreciated work for alto flute, complete with piano score. The pieces work well on alto flute, providing the accompanying pianist is sensitive to the alto flute’s lower sound power and projection capability, especially in the low register, compared to that of the oboe.

    Piano Score, 8 pages; Alto Flute part, 3 pages; Total, 16 pages.

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  • Hauptmann - Bereavement - Alto Flute & Piano

    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.

     

  • Hauptmann - Lieder - Voice, Violin/Flute, Piano

     

    hauptmann.op.31 imageMeerfahrt, Nachtgesang, and Der Fischer, Op.31, by M. Hauptmann

    Facsimile Edition plus a Transcription of the violin part for Flute by C.A.Vater

    Score for Violin, Voice, & Piano, Violin Part, and Flute Part, PDF $18.75

    Moritz Hauptmann (1792-1868) was a renowned music theorist, pedagogue, violinist, and composer.  In 1842, at Mendelssohn's recommendation, he was appointed cantor at the Thomasschule and professor of composition at the newly founded Leipzig Conservatory.  Hauptmann published a major scholarly work on music theory in 1853, "Die Natur der Harmonik und Metrik" (The Nature of Harmony and Meter), as well as some 60 compositions.

    Hauptmann's Op.31 comprises three lovely songs scored for voice with accompaniment of violin and piano: No.1, Meerfahrt (Sea Voyage); No.2, Nachtgesang (Night Song); and No.3, Der Fischer (The Fisherman). The vocal range extends from B3 to G5, and thus is well-suited for mezzo-soprano.  These pieces were published by C. F. Peters as part of a larger volume, now in the public domain, entitled "Lieder-Album für eine Singstimme mit Pianoforte und Violin Begleitung".  Our edition contains an "enhanced" facsimile of the original, plus a new transcription of the violin part for flute created using a modern music notation program.  The three songs may be performed with comparable gratification utilizing the accompaniment of either violin or flute, along with the voice and piano. Click here to preview p1 of the score.

    Score, 15 pages; Violin part, 5 pages; Flute part, 5 pages; Total, 29 pages.

  • Haydn - Adagio from Sym. No.24 - Afl & Pf

    haydn.sym24.afl image 240pxAdagio from Symphony No.24, by F. J. Haydn

    Arranged for Alto Flute and Piano by John W. Pratt

    Alto Flute Part and Piano Score, PDF $6.00

    We offer a flute and piano edition of the gorgeous second movement Adagio for solo flute accompanied by strings from Haydn's Symphony No.24. An arrangement for alto flute that is mellower than that for flute but also extremely beautiful is obtained by lowering the pitch a minor third. Haydn's flute part needs no other change, nor does the cadenza that was written by Mr. Pratt for our C-flute edition. The string parts have been adapted to piano sonority in a number of ways, as well as transposing them in this alto flute edition. Click to view a sample page from the score.

    Alto Flute part, 2 pages; Alto Flute & Piano score, 4 pages; Total, 10 pages.

  • Haydn - Adagio from Sym. No.24 - Flute & Piano

    Haydn_Adagio_image_rAdagio from Symphony No. 24, by F. J. Haydn

    Arranged for Flute and Piano by John W. Pratt

    Flute Part and Piano Score, PDF $6.00

    Franz Joseph Haydn (1732-1809) wrote his Symphony No. 24 in 1764. The second movement is a beautiful Adagio for solo flute accompanied by strings, with a place for a cadenza.  We offer here a piano transcription of the string accompaniment, with appropriate adaptations in sonority, and the flute part with a written cadenza based closely on Haydn's material and style.  Players will find the resulting one-movement flute sonata both affecting and highly rewarding.  Click to preview p1 of the score.

    Flute part, 2 pages; Flute & Piano score, 4 pages; Total, 10 pages. 

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    We also offer a professionally-printed hard copy edition of the Haydn Adagio for $13.49 plus a $5.95 shipping and handling fee. Due to prohibitively high international shipping rates, we ship print editions only to addresses in the USA. Please use the Contact Us form to let us know which hard copy publication(s) you would like to purchase, along with your email contact information and USPS mailing address. We will then send you a PayPal invoice for the sale and, once we receive notice from PayPal that you have paid for the item(s), we will ship your music to the address provided for delivery in 7-10 business days.

  • Haydn - Adagio, Quartet Op.17, No.1 - Afl & Pf

    Haydn Op17No1 Adagio nsmAdagio from Quartet in E Major, Op.17, No.1, by F. J. Haydn

    Transcribed for Alto Flute and Piano by John W. Pratt

    Alto Flute Part and Piano Score, PDF $8.00

    Haydn's early quartets, especially the three sets of six written between 1768 and 1771 (Opus 9, Opus 17, and Opus 20), advanced the development of the classical string quartet enormously in all respects. The third movement of Opus 17, No. 1 is an Adagio with a beautiful violin melody that is harmonized simply by the other three strings. Whereas Haydn's more complex movements generally are unsuitable for transcription, the relative simplicity of this gorgeous Adagio makes it an exception. We present here a transcription for alto flute and piano. The melody is highly effective on the alto flute, and the other string parts are readily adaptable to the piano.  Click to preview p1 of the score.

    Alto Flute part, 2 pages of music; Piano score, 6 pages; Total, 12 pages. 

  • Haydn - Adagio, Quartet Op.17, No.2 - Afl & Pf

    haydn_op17_2_image-webAdagio from Quartet in F Major, Op.17, No.2, by F. J. Haydn 

    Transcribed for Alto Flute and Piano by John W. Pratt

    Alto Flute Part and Piano Score, PDF $8.00

    The third movement of Haydn's Opus 17, No. 2, like that of Opus 17, No. 1, is an Adagio with a beautiful violin melody that is harmonized simply by the other three strings.  The melody is compelling on alto flute, with just a few changes to accommodate its sonic differences from the violin.  Lest the effect be too placid when the lower string parts are transferred to the piano, our piano transcription elaborates them in the style of Haydn's keyboard music in several places.  We also incorporate a few changes for better sonority and to disentangle the voices where the string parts have overlaps and unisons that are poorly suited to the piano.  All told, this transcription is highly effective and a delight for both players.  Click here to preview p1 of the score.

    Alto Flute part, 2 pages of music; Piano score, 6 pages of music; Total, 12 pages.

  • Haydn - Adagio, Quartet Op.20, No.5 - Fl & Pf

    Title_page_image_for_websiteAdagio from Quartet in F Major, Op.20, No.5, by F. J. Haydn

    Arranged for Flute and Piano by John W. Pratt

    Flute Part and Piano Score, PDF $10.00

    The third movement of Haydn's string quartet Opus 20, No. 5 is an Adagio with a simple melody that is treated to delightful filigreed elaboration and obbligato decoration by the violin.  Although more complex quartet movements are typically unsuited to transcription, in this beautiful Adagio the soloistic nature of the violin part and the simplicity of the lower string parts lend themselves very well to an arrangement for flute and piano, as in the fine transcription we offer here.  Click to preview p1 of the score.

    Flute part, 3 pages of music; Piano score, 7 pages of music; Total, 14 pages.

  • Kakabadse - The Song of the Shirt - Soprano (or Alto Flute) and Piano

    Kakabadse Shirt nsmThe Song of the Shirt, by Lydia Kakabadse

    Contemporary Composition for Soprano and Piano, with words by Thomas Hood
    Alternatively, for Alto Flute (in lieu of soprano) and Piano


    Score for Soprano and Piano, and Alternative Alto Flute Part, PDF $7.99


    Lydia Kakabadse scored her composition The Song of the Shirt for soprano and piano, setting to music the words of the poem of the same title written in 1843 by Thomas Hood.  The composer writes in her program notes: “The text depicts abject poverty, misery and the cruel exploitation of the poor.  They conjure up a picture of a woman in rags, worn out by endlessly sewing in filthy, pitiful conditions, appealing to the consciences of men.  Hood’s words are very inspirational and both the piano and voice reflect these brutal agonies.  The melancholic tone of the words and the monotony of such a wretched existence are characterized by the wide use of minor keys and bare intervals.”

    The beautiful, haunting melody of The Song of the Shirt is infused with pathos, and is well-suited to the character of the alto flute, as well as soprano.  Our edition includes a part for alto flute in G to be utilized in lieu of the soprano voice, at the performers’ discretion, for a fully instrumental "song without words" rendition of the piece.

    The Song of the Shirt has been recorded by Clare McCaldin and Christian Wilson and appears on the "Lydia Kakabadse" CD (Naxos 8.572524).  Click the link to listen to anaudio clip of the track posted on the composer’s website.

    Piano and Soprano score, 8 pages; Alto Flute part, 2 pages; Total, 14 pages.