Noteworthy Sheet Music, LLC

Uncommon Sheet Music for Flute and Alto Flute

flute

All scores that include a part for at least one flute.

  • Coste LesRegrets nsmLes Regrets-Cantilène, Op.36, by Napoléon Coste

    Transcribed for Alto Flute or Flute (or Oboe or Violin) and Piano (or Harp or Guitar) by C.A.Vater


    Score, Alto Flute Part, and alternative Flute (or Oboe or Violin) Part, PDF $5.99


    Napoléon Coste (1805-1883) became famous not only as a guitar soloist, but also as a major composer of some 60 works, most of which were written for guitar. His music is in the romantic French style and appreciated for its originality.  His Fantaisie, Op.36, Les Regrets-Cantilène, is a short, single-movement piece written for oboe or violin with piano or harp or guitar.  We created our Noteworthy Sheet Music edition from the difficult-to-read manuscript version in the public domain, available on imslp.org.  We include a score in concert pitch and a part suitable for flute, oboe or violin, as well as a part transcribed for alto flute in G.  The piece falls nicely within the sweet range of the alto flute and our transposition sounds appealing and completely natural on that instrument.  In fact, Les Regrets-Cantilène is gorgeous on either flute or alto flute.  Melodic and sentimental, the work is not overly demanding technically and should appeal to players of a moderate or higher skill level.


    Score, 4 pages; Alto Flute part, 1 page; Flute (or Oboe or Violin) part, 1 page; Total 8 pages.

  • Densmore.CoverThe Voice and The Flute, by John H. Densmore

    Aria for Soprano and Flute

    Facsimile Edition by Noteworthy Sheet Music

    Piano Score and Part, $8.99

    The Voice and The Flute is a work composed by John H. Densmore for soprano, flute, and piano, with lyrics written by Mary Gardenia.  Densmore was a native of Somerville, Massachusetts; he graduated from Harvard '04 and is perhaps best known for having composed the Harvard fight song "Veritas".  Our edition of Densmore's Aria for Soprano and Flute is a facsimile reproduction of the original 1922 edition published by the composer, and contains both the piano score and the part for the voice and the flute.  Click to preview p1 of the score.

    Piano, Flute, & Voice score, 12 pages; Flute & Voice part, 6 pages; Total, 21 pages.

     

  • Detlor-Cover-image-web-rSong for Eric Dolphy, by Len Detlor

    Edited and with a Preface by Peter H. Bloom

    Contemporary Composition for Flute (or Alto Flute) Alone, $14.15

    Mr. Bloom, in his Preface to Song for Eric Dolphy, writes: "Len Detlor (1941-2008) was anLen_Detlor_with_captionextraordinary artist whose creative vision, masterful technique, and depth of humanity transcended medium and category. As a composer, saxophonist and flutist, arranger, and music director, he was devoted to musical expression that was both elegantly structured and unconstrained." Len Detlor composed this evocative piece as a tribute to the legendary saxophonist, clarinetist, and flutist Eric Dolphy (1928-1964), whose recordings remain highly influential across musical genres and generations.

    Flute part, 7 pages; Total, 10 pages.

     

  • Devienne Op10No1 Fl-Cl nsmSonata in D Major, Op.10, No.1, by François Devienne

    Duet transcribed for Flute and Clarinet
    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 original flute-flute duet from the Library of Congress and believed it undeserving of its current obscurity. Aware of the paucity of repertoire available for flute and clarinet, and realizing the piece would work nicely for that instrument pair as well, he transcribed the second flute part for B♭ clarinet. 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 part, 5 pages; B♭ clarinet part, 5 pages; Total, 24 pages.

    If the "Buy Now" button doesn't transfer you to PayPal, please use the "Add to Cart" button instead, or Contact Us for assistance.

     

  • 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.

  • 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.

  • figueiredo image rrNa Rua dos Meus Ciúmes, Traditional Fado

    Arranged for Woodwind Quintet by Antonio F. Figueiredo

    Parts and Score, PDF $10.00

    Na Rua Dos Meus Ciúmes is a traditional Portugese fado, still highly popular among recording artists today.  This passionate love song tells the story of the intense jealousy experienced by a girl upon seeing her lover pass by with another woman on the street near her home.  Though her pain is palpable, the girl is proud and determined to endure her suffering resolutely and without tears.figueiredo.cover

    Antonio Figueiredo was born in the Azores, Portugal, and now resides in Massachusetts.  He grew up listening to (and falling in love with) fado music, with all its romance and passion, and its timeless themes of love, loss, jealousy, poverty, and the sea.  Figueiredo is a bassoonist who plays regularly in various orchestras and chamber music groups in the Boston area.  He enjoys arranging folk tunes for woodwind quintet, and he created this delightful and engaging arrangement of Na Rua Dos Meus Ciúmes for one of his own groups.  The piece is scored for flute, oboe, clarinet in B-flat, horn in F, and bassoon.  Click to preview p1 of the score.

    "This brief piece is a charming addition to the quintet repertory."  Read John Ranck's full review of Figueiredo's arrangement of Na Rua Dos Meus Ciúmes.  

    Score, 5 pages; Parts, 1 page each; Total, 12 pages.

     
     
  • Finlayson Moon-Shadows nsmMoon Shadows, by Walter A. Finlayson

    Contemporary Composition for 2 Flutes, 2 Clarinets, Bass Clarinet, and 9 Percussion Instruments

    Score and Parts, PDF $14.25

    Walter Finlayson (1919-2000) was an American composer, musician, educator, and music innovator, with nearly twenty original compositions and some forty arrangements to his credit.  While serving in the navy, he played saxophone and clarinet in the US Naval Reserve dance band, seated next to the great Artie Shaw.  Finlayson's ASCAP output includes music for band, dance band, orchestra, voice, and chorus.  His compositions and arrangements have been published by Boosey & Hawkes, EB Marks, Boston Music, and Mercury Music, and performed by major college marching band programs.  One of his best-known compositions is I Had a Premonition, which was written for voice and piano, but which was later arranged for the Jimmie Lunceford Orchestra, one of the preeminent bands of the swing era.  A recording of the tune can be heard on The Jimmie Lunceford Collection: 1930-47 compact disc released in 2014 on the Fabulous label, and on YouTube.

    Noteworthy Sheet Music's chief editorial consultant Peter H. Bloom received Finlayson's previously-unpublished score for Moon Shadows from the composer's daughter, and we were impressed with its quality and sophistication.  For a piece written in the late 1930's or early 1940's, as Gale Finlayson recollects (the score is not dated), Moon Shadows seems remarkably ahead of its time.  The work is scored for two flutes, two clarinets, bass clarinet, bells, vibraphone, xylophone, finger cymbals, maracas, bongos, roll cymbals, temple blocks, and tympani.  We notated our modern edition of the piece as faithfully as possible based on the hand-written Finlayson score; our edition of Moon Shadows includes both score and parts.  We at NSM are pleased to aid in the re-discovery of some of Walter Finlayson's works; for additional information about this interesting composer, please visit the Our Composers page under About Us.

    Score, 19 pages; Parts for Flute-1, Flute-2, Clarinet-1, Clarinet-2, Bass Clarinet, Bells, Vibraphone, Xylophone, Finger Cymbals and Maracas, Bongos and Roll Cymbals, Temple Blocks, and Tympani, 1 page each; Total, 34 pages. 

    If the "Buy Now" button doesn't transfer you to PayPal, please use the "Add to Cart" button instead, or Contact Us for assistance.

  • 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 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.

  • hatton wreck_of_the_hesperus 250The 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)

    Click to preview p1 of the Mini-Score for tenor, flute, clarinet, violin, viola, and double bass (rotate view after opening).

    Click the mp3 icon to listen to an audio clip of Wreck of the Hesperus from the Hall's Band CD recording Grand Concert!.  mp3 icon    

    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. 

    ===========================================

    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.

  •  

    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_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. 

    ======================================================

    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.

  • 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.

  • haydn fantasia image 240pxFantasia in C major, by F. J. Haydn

    Arranged as a Duet for Flute and Alto Flute by John W. Pratt

    Flute Part, Alto Flute Part, and Score ― PDF $12.99

    Fantasia in C major (Op.58; Hob. XVII:4) was written by Haydn in 1789 for the pianoforte.  Based on a folk song about a farmer's wife chasing her cat, one can easily imagine in the music kittenish scampering, stealthy approaches, unexpected pounces, and mad chases with abrupt changes of direction.  The style and playfulness of the piece are beautifully suited to the agility and sparkle of flutes.  The transcription is able to capture the feel Haydn intended, with new coloring, while at the same time affording flutists the joy of experiencing the work first-hand.  (adapted from JWP's foreword to the edition)

    Please click to preview p1-2 of the mini-Score.  After opening the file, adjust the orientation using "View - Rotate View - Clockwise" in your pdf reader program.

    Flute part, 6 pages; Alto Flute part, 7 pages; Mini-score, 6 pages; Total, 22 pages.