All scores that include a part for at least one violin.
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
Drei Duette, Op.20, by Johannes Brahms
Transcribed for Mixed Voice, Instruments, and Piano by John W. Pratt
Score for Soprano, Alto, and Piano; Transcribed upper voice Parts for Violin/Oboe, Alto Flute, and A-Clarinet; and Transcribed lower voice Parts for Violin/Oboe, Alto Flute, A-Clarinet, and Viola; PDF $12.99
Composed in 1858–1860, the Drei Duette, Op. 20, for soprano and alto are the earliest of Johannes Brahms' duets and quartets for solo voices and piano. The three songs are titled Weg der Liebe (1. Teil), Weg der Liebe (2.Teil), and Die Meere. Except for brief canonic passages in No. 1, the voices have the same words, sung simultaneously, mostly in parallel thirds and sixths. The accompaniments are straightforward, without Brahmsian ensemble challenges but not without harmonic interest. Many have found the songs Mendelssohnian. The words come from the collection Stimmen der Völker of Johann Gottfried Herder (1744–1803). The first two are translations by Herder of two parts of a Northern English folk poem Love will find out the Way. The third is Italian in origin.
The vocal parts lie well for many instruments, opening the possibility of mixed voice and instrument, as well as fully-instrumental, performances. If one voice is replaced by an instrument, no words will be lost and the result will be a song with wonderful instrumental obbligato and piano accompaniment. If two instruments are used, the result is a beautiful "song without words." We include in our edition transcriptions of both voices for oboe/violin, alto flute in G, and clarinet in A, and of the lower voice for viola as well. Our transcriptions provide slurs to suggest a vocal style to instrumental players and to facilitate coordination of the instrumental parts with those of the voices. We also provide a re-notated piano/vocal score, in which repeat signs are used in the second and third songs to save page turns, rather than writing out the multiple stanzas as in the original. For those needing only the piano/vocal score, the Breitkopf & Härtel edition is in the public domain and freely available on imslp.org.
Piano/Vocal Score, 10 pages; Instrumental Parts, 3 pages each; Total, 42 pages.Preview
Portrait 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.
Piano score, 3 pages; Flute or Violin part, 1 page; Total, 8 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.
Meerfahrt, 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.
Score, 15 pages; Violin part, 5 pages; Flute part, 5 pages; Total, 29 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
In die Ferne, Op.98, No.1, by J. W. Kalliwoda
Facsimile Edition plus Transcription of Violin part for Flute by C.A.Vater
Score for Violin, Voice, & Piano, Violin Part, Flute Part, PDF $5.99
Johann Wenzel Kalliwoda (1801‒1866) was a Bohemian violinist, conductor, and composer who spent much of his career in Donaueschingen, where he served as the conductor of the court orchestra for Prince Karl Egon II of Fürstenberg. Kalliwoda composed numerous works, including operas, symphonies, pieces for piano, violin and orchestra, and chamber music.
Kalliwoda's song In die Ferne (Far Away) was published in a nineteenth century collection of lieder, along with several songs by Hauptmann and Reinecke. The vocal range of In die Ferne extends from E4 to G#5, and thus is well-suited for either soprano or mezzo-soprano. Our edition contains "enhanced" facsimiles of the original score (violin, voice, and piano) and violin part, plus a transcription of the violin part for flute created using a modern music notation program. Therefore, In die Ferne may be performed using the accompaniment of either violin or flute, along with the voice and piano.
Score, 6 pages; Violin and Flute parts, 1 page each; Total, 12 pages.Preview
U.S. customers may purchase professionally-printed hard copies of In die Fernefor $10.18 plus a $5.95 shipping and handling fee. Please use the Contact Us form to let us know which print edition(s) you would like to purchase, along with your contact information and your USPO mailing address.
Waldesgruss and Frühlingsblumen, Op.26, by C. Reinecke
Facsimile Edition plus Transcriptions for Flute & Alto Flute by C.A.Vater
Score for Violin, Voice, & Piano, Violin Part, Flute & Alto Flute Parts, PDF $9.98
Carl Reinecke (1824-1910) was a renowned German pianist, composer, conductor, and teacher of composition. He composed numerous works, and for over 35 years was a leader of the music scene in Leipzig. Reinecke's Op.26 includes two songs for voice with accompaniment of violin and piano: No.1, Waldesgruss (The Forest's Greeting); and No.2, Frühlingsblumen (Spring Flowers). The vocal range of Reinecke's Op.26 lieder extends from C4 to A5, and thus is well-suited for either soprano or mezzo-soprano.
Our edition contains an "enhanced" facsimile of the original score and violin part, plus new transcriptions of the violin part for either alto flute or flute. Thus, the two songs may be performed utilizing the accompaniment of violin, alto flute, or flute, along with the voice and piano. Alternatively, these pieces work very well as an instrumental arrangement with the voice part played on flute, accompanied by alto flute and piano.
Score, 6 pages; Violin, Alto Flute, and Flute parts, 2 pages each; Total, 18 pages.Preview