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
Coolun, A favorite Irish Air with Four Variations, by C. Nicholson
Gassett Collection - Facsimile Edition by Noteworthy Sheet Music
Piano Score and Flute Part, PDF $9.99
Charles Nicholson (1795-1837) was a masterful, hugely popular, and highly influential English flutist and teacher, famous for his individual style and powerful tone. Among Nicholson's compositions are 13 fantasies and 15 airs with variations, including Coolun. A favorite Irish Air with Four Variations arranged for the Flute with an ad libitum Accompaniment for the Piano Forte, or Harp. The "Coulin" or "Coolan" was described in an 1833 letter to the editor of the Dublin Penny Journal (www.libraryireland.com) as "an air, that once heard even in the earliest infancy, can never be forgotten—a melody which breathes the most touching tenderness and exquisite sensibility, and the memory of which, enables the Irish to hear Scotland's 'O, Nanny wilt thou gang with me,'—or her 'Banks and Braes,' without envious repinings."
Nicholson's consummate rendition of Coolun is highly effective when played either as a solo for flute alone or by flute with accompaniment of piano, lever harp, or pedal harp. The Gassett Collection print from which our facsimile was created consists of a score for piano forte and flute, without a separate flute part. The flute part included in our edition was created from the score using a modern music notation software program.
Noteworthy Sheet Music's publication of Coolun was favorably reviewed by Katherine Borst Jones in the January, 2014 issue of Flute Talk magazine. You can read the review, reproduced on our website for your convenience, or at Flute Talk (subscribers).
Piano score, 6 pages; Flute part, 5 pages; Total, 15 pages.Preview
To order our print edition of Coolun, A Favorite Irish Air arranged for Flute and Piano or Harp for $16.98 plus a $5.95 shipping and handling fee to addresses in the USA. 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.
A School for the Flute, by C. Nicholson
Gassett Collection - Facsimile Edition by Peter H. Bloom
Volume I, PDF $10.50
Volume II, PDF $10.50
Charles Nicholson (1795-1837) was the most renowned flutist in the English-speaking world during the first half of the 19th century. His artistry, style, and technical innovation remain forceful influences more than a century and a half after his death. Before the meteoric rise of the Boehm flute put an end to glorious diversity in the flute world, there were three categories of flutes from which to choose: small hole French style flutes; large hole Nicholson style flutes; and flutes with moderate holes. Nicholson's A School for the Flute, published in 1836, addresses all three styles of instruments and provides clear direction to players of each. He also provides us with a wealth of information on style and performance practice in the 19th century. (excerpted from the foreword by P. H. Bloom)
Please note that this is an un-enhanced facsimile, a scan of an historical edition, so there are areas that are faded, uneven, or otherwise imperfect based on the condition of the original document.
Volume I: 75 pages including a foreword by Peter H. Bloom, $10.50
Nicholson addresses fundamentals of music and goes on to present a thorough treatise on flute-playing technique including detailed analyses of fingerings and articulations accompanied by clear and useful musical examples.
Volume II: 68 pages including a foreword by Peter H. Bloom, $10.50
Nicholson provides lessons and observations concerning his approach to style, taste and performance practice as well as technique.
Trip to Nahant, by James Hewitt
Arranged as a Duet for Flute and Clarinet by John W. Pratt
Flute Part, Bb Clarinet Part, alternate A Clarinet Part, and Score ― PDF $5.99
James Hewitt (1770-1827) moved from London to New York in 1792 and was active in both New York and Boston as a composer, arranger, music publisher, performer, teacher, and orchestra conductor. In Hewitt's time, Nahant was an island connected to the mainland by a sandbar submerged at high tide, now a causeway. It was a popular, cool place for day trips from Boston and later became a fashionable summer resort.
Hewitt's Trip to Nahant, a favorite Rondo (1811) was written for keyboard, and is typical of American music of the period. It is charming, light in texture and subject, and well suited to arrangement for flute and clarinet. (adapted from JWP's foreword to the edition) We provide parts for Flute and Clarinet in Bb, along with an alternative part for Clarinet in A and a Score in concert pitch.
Flute part, 2 pages; Bb Clarinet part, 2 pages; alternate A Clarinet part, 2 pages; Score, 4 pages; Total, 16 pages.Preview
The Wreck of the Hesperus, by J. L. Hatton & H. W. Longfellow
Arranged for theatre or salon orchestra by Peter H. Bloom
Tenor, Flute, Clarinet, Violin, Viola, & Double Bass Parts, and Mini-Score ― PDF $19.98
The "dramatic scena" was an especially popular entertainment at its zenith in the mid-nineteenth century throughout the English speaking world. John Liptrot Hatton's setting of Longfellow's Wreck of the Hesperus is the very model of the dramatic scena at its finest, and a magnificent showcase for an heroic tenor. Longfellow's ballad recounts a chilling tale loosely based on conflated reports of two New England shipwrecks that occurred during a single devastating blizzard in 1839. This arrangement of Wreck of the Hesperus for theatre or salon orchestra was made for the now retired D.C. Hall's New Concert and Quadrille Band of Boston, and their extraordinary tenor Kevin McDermott. It can be heard on the Hall's Band's CD recording "Grand Concert," winner of the Noah Greenberg Award of the American Musicological Society. (excerpted from Peter H. Bloom's © foreword)
The D.C. Hall's Grand Concert! CD is available from NSM - click to access the page.
Tenor part, 4 pages; Flute part, 2 pages; Bb Clarinet part, 2 pages; Violin part, 2 pages; Viola part, 2 pages; Double bass part, 2 pages; Mini-Score, 8 pages; Total, 26 pages.Preview
We also offer a professionally-printed hard copy edition of The Wreck of the Hesperus for $29.97 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.
4 Short Pieces, by Frank Bridge
Transcribed for Flute or Alto Flute (and Piano) by J.W.Pratt
Flute Part, Alto Part, PDF $8.99
The 4 Short Pieces by Frank Bridge were written for violin and piano, and first published in 1912. As noted in John Pratt's foreword to the edition, they "provide a fine and delightful introduction to an accessible post-romantic composer who should be better known." The pieces are "Meditation", "Spring Song", "Lullaby", and "Country Dance". Mr. Pratt has created transcriptions of the violin parts for both flute and alto flute, and we include both instrument versions in this edition. We think Nos. 1 and 3 sound particularly nice on the alto flute and No. 4 is a splendid romp on the C flute, but all four are effective on either instrument, so we prefer to let our flutists decide on which instrument they choose to play each piece. We provide only our flute and alto flute transcriptions; the piano score, including the original violin part, is available as a free pdf download at imslp.org.
Flute part, 5 pages; Alto Flute part, 5 pages; Total, 14 pages.Preview
Cradle Song, Gondoliera, Mélodie, and Elégie, by Frank Bridge
Transcribed for Flute or Alto Flute (and Piano) by J. W. PrattPreview
Flute Part, Alto Part, PDF $11.99
Like the 4 Short Pieces for Violin and Pianoforte published in transcription by Noteworthy Sheet Music earlier this year, these additional four short pieces by Bridge "provide a fine and delightful introduction to an accessible post-romantic composer who should be better known." Published by Bridge between 1903 and 1911, the works included in our second edition are transcriptions of Cradle Song, written for violin or cello and piano, Gondoliera for violin and piano, and Mélodie and Elégie for cello and piano. Mr. Pratt has created transcriptions of all four pieces for both flute and alto flute, and we include both instrument versions in this combined edition. We think Cradle Song and Elégie are particularly beautiful on the alto flute, but all are effective on either instrument, so we prefer to let our flutists decide on which instrument they choose to play each piece. We provide our flute and alto flute parts only; the original piano scores work well with our transcriptions and are available, along with the violin and cello parts, as free pdf downloads at imslp.org—click the links to access the scores for Cradle Song, Gondoliera, Mélodie, and Elégie.
Flute part, 6 pages; Alto Flute part, 6 pages; Total, 14 pages.
The 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.Preview
Chanson 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.
Flute part, 2 pages; Piano Score, 4 pages; Total, 12 pages.Preview
Chanson 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.Preview