All scores that include a part for at least one cello.
Quartet No.1, by Juan Crisóstomo de Arriaga
Violin 1 Transcribed for Flute by Peter H. Bloom
Flute Part, PDF $9.95
Peter H. Bloom wrote the following foreword (© 2014):
"Even among the most celebrated musical prodigies (Mozart, Mendelssohn, Pergolesi, and Varèse, for example) Juan Crisóstomo de Arriaga's genius and technical mastery are exceptional. This D-minor quartet, one of three string quartets written in 1824, is a work of structural brilliance, rhetorical grace, and elegant intensity.
Adapting music originally written for violin to flute is often relatively straightforward. Occasional octave reassignment and re-interpretation of double stops are typical changes. But when a flute assumes the voice of the first violin in the context of a string quartet, further accommodations are usually necessary. Dynamic balance, sonority, clarity of phrasing and consistency of articulation among the ensemble require a reassessment of many interpretive indications that are native to the violin. In this arrangement we have, as a rule, eliminated Portato indications; they are useful for violinists but merely distracting to the flutist. Articulation and phrasing marks have occasionally been changed, or eliminated, in instances where violin-orientated directions might mislead the flutist.
A final thought: The flutist proposing to replace the first violin in a string quartet of this beauty and integrity may meet resistance from string-playing colleagues. After a fair reading, however, they'll share your enthusiasm for Arriaga's Quartet in D-minor for Flute and Strings."
P. H. Bloom, Somerville, MA
29, May 2014 ©
We provide only the transcribed Flute part. The Violin 2, Viola, and Cello parts, as well as the original Violin 1 part, are in the public domain and available as free PDFs downloads from IMSLP.org.
Flute part, 9 pages; Total, 12 pages.Preview
Prelude and Fugue, WTC Book I, No.22, by J. S. Bach
Transcribed for String Quintet by John W. Pratt, PDF $16.00
Though written for keyboard, this Prelude and Fugue from Book I of Bach's Well-Tempered Clavier is wonderfully adaptable to an instrumental quintet. The Prelude, with its serene harmonic pacing, reveals an almost Schubertian sublime beauty, and the magical counterpoint of the five-part fugue emerges crystal-clear. The challenge for the players, as well as the pleasure, lies in ensemble achievements, not technical difficulties in individual parts.
Score, 6 pages; Parts, 2 pages each, for Violin I, Violin 2, Viola 1, Viola 2, and Cello
with an alternate part for Cello in place of Viola 2; Total, 20 pages.Preview
Ablaze She Came in the Dream, by Peter H. Bloom
Contemporary Composition for Flute, Cello, and Guitar (or Electric Guitar)
Flute, Cello, & Guitar Parts, and Score, PDF $22.97
Ablaze She Came in the Dream by flutist Peter H. Bloom was scored in its original version for flute, viola, and guitar. This intriguing piece comprises eleven brief episodes, which may be repeated any number of times. It is intended to serve as an interpretive vehicle for the performers and thus should be executed freely and expressively. Ablaze received its premier performance in November, 2014, in Boston as part of the Church of the Advent Library Concert Series and featured Mr. Bloom on flute, Frank Grimes on viola, and Anastasiya Dumma on electric guitar.
In the spring of 2016, NSM received a request for a cello version of Ablaze; we complied by creating, in collaboration with the composer, an adaptation for flute, cello, and guitar. Ablaze is not only an exciting piece to hear, it's fun to play as well. Both the viola and cello editions are suitable for adventurous, advanced players. Those wishing to purchase one of our Ablaze editions and then order an additional alternative viola or cello part for a small charge should use the Contact Us form to let us know; we'll make arrangements to accommodate your request.
Score, 23 pages; Flute Part, 11 pages; Guitar Part, 12 pages; Cello Part, 12 pages; Total, 66 pages.Preview
Trio in A Minor, Op.114, by Johannes Brahms
Transcribed for Alto Flute, Cello, and Piano by Carol A. Vater
Alto Flute Part, PDF $5.99
Johannes Brahms (1833-1897) composed the Trio in A Minor for Clarinet, Cello and Piano in 1891 and subsequently created an alternate arrangement in which viola was substituted for the clarinet. The expressive qualities, range, and rich, dark tones of the alto flute are well-suited to this beloved piece. In creating this transcription of the clarinet part for alto flute, every effort has been made to maintain the spirit and character of the original composition. We provide here the Brahms Trio in A minor alto flute part; the piano and cello parts are readily available in the public domain as free pdf downloads of the original score and parts. Here is a link to one such source: Piano Score and Cello Part
Alto Flute part, 13 pages; Total, 15 pages.Preview
Old 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.Preview
Russian Tableaux, by Lydia Kakabadse
Contemporary Composition for Violin, Viola, Cello and Double Bass
Score and Parts, PDF $10.99
Please see the "Our Composers" section of the website to learn more about highly-acclaimed British composer Lydia Kakabadse, whom we were delighted to welcome as a new contributor to NSM's catalog in September 2017, with publication of her piece Russian Tableaux. Russian Tableaux is featured on The Phantom Listeners CD (Naxos 8.572524); visit the composer's website to listen to audio samples.
Here are the composer's program notes for this beautiful work, which was written in memory of her father:
Russian Tableaux, which was completed in September 2009 for string quartet (violin, viola, cello, double bass), displays such distinctive Russian traits as rich melody and texture, an abundance of colour, low register strings and strong bass.
1st movement – Mother Volga
The river Volga, which has held much importance in Russian life, is known as the mother of Russian civilization and came to be called "Mother Volga". Accompanied by the double bass, the piece opens with the cello, followed in turn by the viola and then the violin, each representing a tributary that flows into the river. The river gathers momentum as the cello announces the main theme, which is taken up by the upper strings against pizzicato double bass. The viola attempts to steer a steady course against the meandering strings and, following a variation of the main theme, brings the piece to an end with arpeggio like runs.
2nd movement – 1917
Depicting the aftermath of the Russian Revolution of 1917 and the ensuing misery and sense of desolation, this movement opens with the cello playing the main theme grave con dolore, accompanied by the double bass. This theme is then taken up by the violin and later by the viola in their lower register. Despite an increase in tempo, where the violin plays a variation of the theme, the feeling of despair cannot be shaken off. This is characterized by the melancholy tone reflected in the continual use of the minor key, the repetition of the same notes and a return to the opening theme.
3rd movement – Dance of the Matryoshka Dolls
Also known as a Russian doll, the matryoshka is a hollow wooden doll containing a number of smaller dolls. The dance starts fast and lively and the first theme announced by the violin, characterizes the dainty dancing of the smaller dolls. In contrast, the 2nd theme when played by the double bass at a far slower tempo characterizes the heavy plodding movements of the larger dolls. The tempo reverts back to the original allegro where the first theme is now played by the viola followed by frequent interplay between the strings, bringing the dance to a fast and furious close.
—Lydia Kakabadse, September 2017
Here's what Sarah-Jane Bradley, one of the UK's top violists, has written about Russian Tableaux, a piece she has performed a number of times both in concert and for recording: "Russian Tableaux is a magical depiction of scenes of life in Russia, infused with nostalgic folksong-like melodies and the Eastern flavour of harmonic minor tonality. Lydia Kakabadse makes excellent and highly effective use of the unusual quartet combination, featuring the rich, dark sonority of the double bass as well as virtuoso writing for all four instruments in the final Dance of the Matryoshka Dolls. Well worth exploring - a joy for performers and listeners alike."
And from award-winning violinist Sara Trickey, who also has performed Russian Tableaux many times: "Russian Tableaux draws you into a unique sound world from the first moment you hear its unusual deep and dark sonorities. The music has a compelling and hypnotic quality at times which then is contrasted with highly energized passages, evocative of Russian dance. Lydia Kakabadse's use of the double bass in this quartet affects the overall sound considerably and infuses her work with a tone of melancholy and nostalgia. The work is also rewarding to play and has a unique stamp on it which makes it feel highly original and eminently worth exploring."
Score, 24 pages; Parts for Violin, Viola, Cello and Double Bass, 6 pages each; Total, 58 pages.Preview
A Little Grand Wedding March Waltz, by Tom Schnauber
Score for Piccolo and Trombone, PDF $4.99
This piece was written for the wedding of two good friends of mine from graduate school. One was a trombonist and the other a piccolo specialist. It was conceived in the lovely tradition of Hausmusik: short, simple, fun, and meant for two people to play with each other or for friends. Also, though the score indicates trombone and piccolo, it should be equally satisfying with a cello or bassoon on the lower part and a standard flute on the upper. Or even contrabassoon and piccolo . . . whatever you have available. —Tom Schnauber
Score, 3 pages; Total, 4 pagesPreview
Erlkönig, Franz Schubert
Arranged for Flute, Cello, and Piano by John W. Pratt
Piano Score and Parts for Flute and Cello; PDF $11.99
Franz Schubert (1797-1828), inspired by reading Goethe's poem, wrote his song "Erlkönig" in a few hours in 1815. The song was an immediate hit, and continues to be popular to the present day. Numerous transcriptions have been prepared, but surprisingly none that we found for flute, cello, and piano. John Pratt has created such a trio arrangement, listed here, and also a duet version of the piece with Schubert's solo part adopted without change but with a less punishing alternative to Schubert's piano accompaniment.
Excerpted from Mr. Pratt's © preface:Piano score, 8 pages; Flute part, 2 pages; Cello part, 2 pages; Total, 20 pages.
"In the trio arrangement, the flute provides a natural voice for the child and for the mysterious Erlking, whose words are in the child's head. The cello makes a natural father. The narration is mostly given to the cello also, but the flute takes over when the child is mentioned in bars MM 24-30, and joins the cello when the ride is ending in anguish and distress (MM 139-145). The piano is treated as a member of a trio rather than an accompaniment to a voice singing words. The presence of the cello helps free the piano from the constant pounding and allows it to employ a wider range of expressive sonorities than Schubert's, befitting the absence of words. One might view the result as a kind of tone poem."
We also offer a printed hard copy edition of Erlking for $20.38 plus a $5.95 shipping and handling fee to addresses in the USA. Please use the Contact Usform 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.
Erlkönig, by Franz Schubert
Arranged for Cello (or Viola or Alto Flute) and Piano by John W. Pratt
Piano Score and Parts for Cello/Voice, Viola, and Alto Flute; PDF $11.99
Franz Schubert (1797-1828), inspired by reading Goethe's poem, wrote his song "Erlkönig" in a few hours in 1815. The song was an immediate hit, and continues to be popular to the present day. John Pratt has created a trio arrangement for flute, cello, and piano (click for more information), and also the duo version offered here with Schubert's solo voice part transposed for cello (or viola or alto flute), and with a less arduous alternative to Schubert's piano accompaniment.
Excerpted from Mr. Pratt's © preface:
"In the duo arrangement, Schubert's solo part is adopted without change. Thus the piano must provide the entire accompaniment, but rocking triplets and other pianistically felicitous passagework replace Schubert's unremitting repetition. The range of sonorities is also wider than Schubert's, though more restrained than that of the trio arrangement, where the flute enlarges the musical terrain. This accompaniment is offered as a less punishing alternative to Schubert's, to be played with a singer or any solo instrument. Solo parts are provided for voice or cello, viola, and alto flute."
Piano score, 6 pages; Cello, Viola, and Alto Flute parts, 2 pages each; Total, 22 pages.
We also offer a printed hard copy edition of Erlking for $20.38 plus a $5.95 shipping and handling fee 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.