flute
All scores that include a part for at least one flute.
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Kalliwoda - In die Ferne - Voice, Violin/Flute, & Piano
In die Ferne, Op.98, No.1, by J. W. KalliwodaFacsimile 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.
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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. -
Lane - Danzas Mecánicas - Wind Quintet
Danzas Mecánicas, by Peter Van Zandt LaneContemporary Composition for Wind Quintet, PDF $30.00
Peter Van Zandt Lane is a Boston-based composer and bassoonist. His compositions have been performed across the United States, as well as in Europe and South America, by acclaimed musicians and ensembles such as The Cleveland Orchestra, SIGNAL, International Contemporary Ensemble, Dinosaur Annex, New York Virtuoso Singers, Triton Brass, Xanthos Ensemble, East Coast Composers Ensemble, EAR Duo, Quux Collective, and NotaRiotous. He has written for chamber ensemble, wind ensemble, orchestra, and choir, and often employs the use of electronics in his works.
Lane's Danzas Mecánicas - for woodwind quintet (2011) is an exciting 3-movement, 10-minute piece of fairly high difficulty scored for flute, oboe, clarinet, horn, and bassoon. A recording of the piece performed by the Solar Winds Quintet at Slosberg Hall, Brandeis University, in October, 2013 can be heard on YouTube.
Score, 26 pages; Parts, 49 pages; Total, 78 pages.
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Lane - Seven Rants - Wind Quintet & Piano
Seven Rants, by Peter Van Zandt LaneContemporary Composition for Flute, Oboe, Clarinet, Horn, Bassoon, and Piano, PDF $0.00
Peter Van Zandt Lane was commissioned to compose this piece for the 67th Composers Conference and Chamber Music Workshop at Wellesley College, which took place in the summer of 2011. The annual Conference is a wonderful two-week event, which brings together prominent young composers, superb professional musicians, dedicated amateur chamber musicians, and enthusiastic listeners. The professional musicians premiere the composers' new works and also coach the amateur musicians in chamber ensembles. Concerts are free and open to the public. For more information on the program, please visit the Composers Conference website.
After the Conference each year, one of the composer fellows is selected to create a new work for the next year's chamber music workshop participants. That composer returns the following summer to coach two groups of players on the new composition, in preparation for performances in the Saturday evening concerts of Week I and Week II. Peter Van Zandt Lane's Seven Rants was an enormous success in 2011, absolutely loved by the players and received exceptionally well by the audience. Written for flute, oboe, clarinet, horn, bassoon, and piano, Seven Rants is a series of seven delightful and diverse movements. The first and last movements are strict palindromes. The five middle movements or "rants" are "mini-concertos", each highlighting a different wind instrument. Great fun to play, and highly accessible.
With permission from both the composer and the Wellesley Composers Conference and Chamber Music Center, Noteworthy Sheet Music is thrilled to offer our customers a free PDF download of Seven Rants by Peter Van Zandt Lane. And please check out more of this terrific young composer's work, including two other listings in the NSM catalog, Danzas Mecánicas and Transverse Fractures.
Score, 37 pages: Flute part, 10 pages; Oboe part, 9 pages; Clarinet part, 10 pages; Horn part, 9 pages; Bassoon part, 9 pages; Piano part, 15 pages; Total, 103 pages.
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Lane - Transverse Fractures - Flute & Piano
Transverse Fractures, by Peter Van Zandt LaneContemporary Composition for Flute and Piano, PDF $20.00
Peter Van Zandt Lane's compositions have been featured on various festivals and conferences such as the New York City Electroacoustic Music Festival, Spark Festival, FEASt Fest, SEAMUS National Conferences, Forecast Music, Festival Miami, and LIPM/IEMS at the world renowned Teatro Colón in Buenos Aires. He has received awards in several competitions including the CRS Young Composers competition, the Forecast Music International Composers Competition, The Greater Miami Youth Symphony Composition Competition, and the Cleveland Orchestra Miami Residency Call for Scores. He has been a finalist twice for the ASCAP/SEAMUS Student Commission, and is an active member of the Composers in Red Sneakers, one of the country's longest-running composer consortiums.
Transverse Fractures (2009) is a short, virtuosic, high-energy duet for flute and piano. The piece was derived from a larger, longer chamber work entitled Partial Fractures, which the composer wrote for NotaRiotous Ensemble. Transverse Fractures, approximately 5 minutes long, is a piece of considerable difficulty for both the flutist and the pianist.
Piano Score, 13 pages; Flute Part, 7 pages; Total, 23 pages.
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Li Qi - Fog - Flute Alone
Fog, by Li Qi
Contemporary Composition for Solo Flute, PDF $5.99Fog was written in 2012 by the up-and-coming young composer Li Qi. In addition to receiving other projects and awards, Li Qi was selected by the Wellesley Chamber Music Workshop to compose the program's commissioned piece for 2016, An Autumn Dusk in the Mountains for flute1, flute2/alto flute, cello, and piano.
Short, interesting, and challenging, Fog will appeal to advanced flutists and their audiences. Inspired by the poem "Stray Birds" by Rabindranath Tagore, the piece strives to capture in a musical way the recurring interplay between fog and sunlight, as a representation of the circle of life with all its sorrow, joy, and continuously-unfolding beauty. A recording of a 2012 performance of Fog by Heath White at the Jacobs School of Music, Indiana University, has been posted on YouTube; please click the link to listen.Our front cover image is from Wikimedia Commons: "The Mount Emei" by pookieevans (CC BY-SA 2.0).
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Flute part, 3 pages; Total, 7 pages.
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McDonald - Three Four-Note Flute Duets - Two Flutes
Three Four-Note Flute Duets, Op.448b, by John D. McDonaldContemporary Composition for Two Flutes, PDF $2.99
"Composed for Ethel Farny and her flute students at the Rivers Music School, these short duets sprout initially from the first flute/violin duet of Several Strands, Op. 448a. This Grazioso is indeed made from only four pitches. Similarly, Murmurando confines itself to a four-note knot until its final dyad. The third duet, Con Eleganza, stretches the four-note concept a bit more. Each instrument has its own four-pitch pattern, and a coda leaves the four-note idea behind all together, concluding the set with six slower, somewhat more chromatic bars that could very well lead to future music of more emotional complexity. Perhaps there will be more duets to come." ― John McDonald, November 2009
John McDonald is a member of The Mockingbird Trio, directs the Tufts Composers Concert Series, and serves on the boards of several performance organizations in New England. He has recently fulfilled commissions from The Chamber Orchestra of Boston, pianist David Holzman, The Firebird Ensemble (for an Apple Hill Center for Chamber Music Residency, with support from a Meet the Composer MetLife Creative Connections Award), and the ANA Trio (Fredonia University; soprano, cello, and piano), among others. Recent performances by McDonald at the Goethe Institut of Boston, at Tufts, and at many other venues have been highly acclaimed.
Score for Two Flutes, 2 pages; Total, 4 pages.
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McDonald - Three Melodies That Descend - Flute
Three Melodies That Descend, Op.474, Nos.96-98 by John D. McDonaldContemporary Composition for Solo Flute, $2.99
John McDonald is Professor of Music at Tufts University, where he served as Director of Graduate Music Studies from 2000 to 2010 and Department Chair from 2000 to 2003. He was named the 2007 MTNA—Shepherd Distinguished Composer of the Year by the Music Teachers National Association, and received the 2009 Lillian and Joseph Leibner Award for Distinguished Teaching and Advising from Tufts University. In 2010, he received the Waring Prize from Western Reserve Academy, the highest award given to alumni of that school. His recordings appear on the Albany, Archetype, Boston, Bridge, Capstone, Neuma, New Ariel, and New World labels, and he has concertized widely as composer, pianist, and collaborative performer. New releases include pianist Andrew Rangell's performance of McDonald's Meditation Before A Sonata: Dew Cloth, Dream Drapery, on Bridge Records.
McDonald's Three Melodies That Descend, Op.474, Nos.96-98 were written for composer and flutist Joshua Hahn after his graduation from Tufts University in May 2011. They work on the principle that what starts high must come down, and they are also a foil to the Eleven Melodies That Go Up In Different Ways (Op. 474, Nos. 30-40).
Flute part, 2 pages; Total, 4 pages.
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Mendelssohn - Concert Piece No.1 - Two Winds and Piano
Concert Piece No.1, Op.113, by Felix MendelssohnTranscribed for Various Wind Instruments and Piano by John W. Pratt
(originally for Clarinet, Basset Horn, and Piano)
Individual Primo parts for Clarinet, Flute, or Oboe, PDFs $6.99 each
Individual Secondo parts for Bassoon, Clarinet, or English Horn, PDFs $6.99 each
Piano Score, with original Clarinet and Basset Horn lines in concert pitch, PDF $6.99
The following is excerpted from John Pratt's © foreword:
"In 1833, Felix Mendelssohn (1809-1847) wrote two Concert Pieces for Clarinet, Basset Horn, and Piano, op. 113 and op. 114, as show-pieces for the famous clarinetist Heinrich Bärmann (1784-1847) to play with his up-and-coming son Karl (1811-1885) on the basset horn. // Mendelssohn's two Concert Pieces are very suitable for transcription, even aside from the rarity of the basset horn today. We provide, as well as the original clarinet part, transcriptions of it for flute and oboe. Transcriptions of the basset horn part are provided for bassoon, clarinet, and English horn. These primo and secondo parts can be mixed and matched at will. For the score, we use Mendelssohn's instruments rather than some other arbitrary pair. This enables anyone interested to check any transcribed part against the original. The score gives the parts in concert pitch, because a transposition would apply to only one of the possible winds, and because the pianist can then easily play any part at original pitch."Please note that PDFs of the original score and clarinet-primo part are available free of charge in the public domain (see the listing of this work on IMSLP.org), and our transcribed primo and secondo wind parts can readily be used with the original score. Therefore, you should purchase our original instrument Score or Clarinet-primo part only if you would like measure numbers or Mr. Pratt's score (for piano with clarinet and basset horn) in concert pitch.
- Piano Score with Clarinet and Basset Horn lines in concert pitch, 8 pages; Total, 10 pages (note that the original score is freely available on IMSLP.org)
- Clarinet in B-flat, primo part, 4 pages; Total, 6 pages (note that the original clarinet part is freely available on IMSLP.org)
- Flute, transcribed primo part, 4 pages; Total, 6 pages
- Oboe, transcribed primo part, 4 pages; Total, 6 pages
- Bassoon, transcribed secondo part, 4 pages; Total, 6 pages
- Clarinet in B-flat, transcribed secondo part, 4 pages; Total, 6 pages
- English Horn, transcribed secondo part, 4 pages; Total, 6 pages
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Mendelssohn - Concert Piece No.2 - Two Winds (and Piano)
Concert Piece No.2, Op.114, by Felix MendelssohnTranscribed for Various Wind Instruments (and piano) by John W. Pratt
(originally for Clarinet, Basset Horn, and Piano)
Primo parts for Clarinet, Flute, or Oboe, PDFs $5.99 each
Secondo parts for Bassoon, Clarinet, or English Horn, PDFs $5.99 each
The following is excerpted from John Pratt's © foreword:
In 1833, Felix Mendelssohn (1809-1847) wrote two Concert Pieces for Clarinet, Basset Horn, and Piano, op. 113 and op. 114, as show-pieces for the famous clarinetist Heinrich Bärmann (1784-1847) to play with his up-and-coming son Karl (1811-1885) on the basset horn. // These works are very suitable for transcription, even aside from the rarity of the basset horn today. We provide, as well as the original clarinet part, transcriptions of it for flute and oboe. Transcriptions of the basset horn part are provided for bassoon, clarinet, and English horn. These primo and secondo parts can be mixed and matched at will. // Since a good quality PDF of the original piano score with excellent page turns is freely available in the public domain (see IMSLP.org), we have not provided a score here; our transcribed primo and secondo wind parts can readily be used with the original score.
Each wind part is 4 pages of music; 6 pages total.
Primo parts for Flute, Clarinet in B-flat (note that the original primo clarinet part is freely available on IMSLP.org), or Oboe.
Secondo parts for Clarinet in B-flat, Bassoon, or English Horn. Preview Bassoon II part
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Mozart - Sinfonia Concertante - Fl/Cl/Pf
Sinfonia Concertante, K.364, by Wolfgang Amadeus MozartTranscribed for Flute, Clarinet, and Piano by John W. Pratt
(originally for Violin, Viola, and Orchestra)
Piano Score, Flute & Clarinet Parts, PDF $17.99
Excerpted from the Foreword by J. W. Pratt: "The idea that every piece, especially a major one, can be satisfactorily transcribed for whatever instruments one would like is one I firmly reject. However, a trio arrangement of this Sinfonia Concertante for flute, clarinet, and piano can, I believe, capture and present in a new light many of the wonders of this great work, even the wonders of its sonorities..... In the arrangement here, the flute and clarinet almost always play either a solo part or an orchestral part with only octave changes..... For the piano, on the other hand, straightforward orchestral reduction is often ineffective and unsatisfying, and that would certainly be true here, even with the flute and clarinet taking some wind parts. I have attempted instead to find natural piano "orchestrations" as alternatives to Mozart's orchestral layouts, especially where the full orchestra is playing..... Such effects, often heightened on returns, are better suited to the piano's capabilities and its role as a member of a trio than a straightforward reduction would be..... The music available for flute, clarinet, and piano includes surprisingly few major works. The purpose of our arrangement is to add a significant piece to this repertoire and to enable players and listeners to enjoy Mozart's magnificent Sinfonia Concertante in a new way."
Score, 41 pages; Flute part, 18 pages; Clarinet part, 17 pages; Total, 82 pages.
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Nelson - Play of Light - Flute & Harp
Play of Light, by Richard Nelson Contemporary Composition for Flute (doubling piccolo & bass flute) and Harp
Score and Flute Part, PDF $15.25
Play of Light, for flute and harp, was written for the duo "2" (Peter H. Bloom and Mary Jane Rupert). The piece is built around spaciousness, transparency, multi-hued shadings and playful chases. The incorporation of bass flute and piccolo further enhances the inherently rich color possibilities of the flute/harp combination—the three flute instruments in succession form a sort of "super-flute" in the work's final section.
Drawing on his jazz and improvisation background, composer Richard Nelson in this composition leads the players into a substantial section that they complete through improvisation. While they follow signposts on intensity, energy and pitch content that he provides, this practice nonetheless creates an element of intrigue and unpredictability that the composer values highly. It also assures that each performance of the piece will have a strongly individual profile.
The Duo "2" artists have released a studio recording ofPlay of Light, available free of charge; please click the link to listen to the audio file on the composer's SoundCloud site.
Peter H. Bloom gave a lecture on “Effective Writing for Flutes and the Contemporary Flutist” at the 2018 Snow Pond Composers Workshop. In his presentation, Mr. Bloom discussed various topics using four contemporary works published by Noteworthy Sheet Music, including Play of Light, as examples. We later published a free text version of this excellent presentation on our website, in the Reviews and Articles section, including some of the audio clips and supplemental written materials that Mr. Bloom used as demonstrations.
Score, 23 pages; Flute part, 9 pages; Total, 36 pages.
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We also offer a print version of Play of Light by Richard Nelson, for those who prefer to purchase the work as a professionally-printed hard copy. Due to prohibitively high international shipping rates, we ship print editions only to addresses in the USA. The cost of the hard copy edition of Play of Light is $25.93, plus a $5.95 shipping and handling fee. Please use the Contact Us form to let us know which print 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. -
Nicholson - Coolun - Fl or Fl & Pf or Fl & Hp
Coolun, A favorite Irish Air with Four Variations, by C. NicholsonGassett Collection - Facsimile Edition by C.A.Vater/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).
For additional information about the Gassett Collection, please see see our article An Introduction to the Gassett Collection.
Piano score, 6 pages; Flute part, 5 pages; Total, 15 pages.
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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.
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Popp - Greetings to Hungary - Flute and Piano
Greetings to Hungary, Op.407, by Wilhelm PoppFlute and Piano
Flute Part and Piano Score, PDF $0.00
Wilhelm Albrecht Otto Popp (1828-1903) was an esteemed German composer, flutist, and pianist. He received his flute training from Caspar Kummer and Louis Drouet, and served as court pianist and flutist at the Ducal Saxon Court Theater in Coburg-Gotha. In 1867 he moved to Hamburg and became first flute of the Hamburg Philharmonic Orchestra. Popp composed some 600 works, many of which were written for flute and piano; most of his compositions were published in his lifetime and were well-known to musicians of his day.
Wilhelm Popp’s Gruß an Ungarn (Greetings to Hungary) was first published for flute and orchestra in 1890, and an edition for flute and piano was published in 1899. NSM re-notated the flute and piano version, changing only the formatting and adding bar numbers and a new cover page. With a decidedly Hungarian sentiment, this piece is great fun to play and provides an enjoyable, exciting listen for audiences as well.
Click for a free download of our re-typeset edition of Popp’s Gruß an Ungarn.
Piano score, 8 pages; Flute part, 5 pages; Total 16 pages.
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Reinecke - Lieder - Voice, Violin (Fl/Afl), Piano
Waldesgruss and Frühlingsblumen, Op.26, by C. ReineckeFacsimile 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.
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Reissiger & Fürstenau - Les Inseparables! - Fl & Pf
Les Inseparables!, Op.45, by Reissiger & FürstenauGrand Original Duets for Piano and Flute, No.1
Gassett Collection - Facsimile Edition by C.A.Vater/Noteworthy Sheet Music
Flute and Piano Parts, PDF $20.25
Carl Gottlieb Reissiger's Opus 45 was written as a Sonata for Violin and Piano, but was adapted for flute by Anton Bernhard Fürstenau. Fürstenau (1792-1852) composed and arranged many works for flute. He was among the most admired flutists of the 19th century and remains a well-known favorite of flutists today. Reissiger (1798-1859) was an accomplished composer of opera, orchestral, and chamber music. An influential figure in the city of Dresden, he served as Director of the Dresden Opera and later as Kapellmeister. Les Inseparables! No.1, is the first of the Three Grand Original Duets for Piano and Flute by Reissiger and Fürstenau. The piece, which consists of three movements, is a virtuosic work that should delight and challenge both players.
For additional information about the Gassett Collection, please see see our article An Introduction to the Gassett Collection.
Piano part, 21 pages; Flute part, 6 pages; Total, 33 pages.
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Reissiger & Sedlatzek - La Pasta - Fl & Pf
La Pasta! Op.36, by Reissiger & SedlatzekConcertantes Variations sur la Cavatina de Rossini, No.3
Gassett Collection - Facsimile Edition by C.A.Vater/Noteworthy Sheet Music, with a Foreword by Peter H. Bloom
Flute and Piano Parts, PDF $13.50
Reissiger and Sedlatzek's work La Pasta is a particularly effective concert piece with which the accomplished flutist can enthrall a diverse audience by evoking the dramatic majesty of grand opera while applying the scintillating techniques of the 19th century virtuoso. La Pasta is flutist Johann Sedlatzek's homage, celebration, and souvenir of the redoubtable mezzo-soprano Giuditta Pasta (1798± - 1866±), arranged by the superb composer/conductor Carl Gottlieb Reissiger. Pasta (nee Negri) was a cynosure of Italian opera who created brilliant dramatic roles for Bellini, Donizetti, and Rossini. Legendary Maria Callas (1923-77) is often compared to Pasta by opera aficionados, but few are likely to have heard both in their prime. — P. H. Bloom, 5/23/2011
For additional information about the Gassett Collection, please see see our article An Introduction to the Gassett Collection.
Piano part, 13 pages; Flute part, 5 pages; Total, 24 pages
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Robichaux - Recurrence - Flute & Piano
Recurrence, by Ben RobichauxContemporary Composition for Flute and Piano
Flute Part and Piano Score, PDF $12.99
NSM welcomed composer Ben Robichaux as a new contributor to our catalog in early June, 2017, when we published his piece Recurrence for flute and piano. For details of Mr. Robichaux's background, interests, and other works, please click the link to access the Composers section of the NSM website.
Recurrence was written for the composer's friend Michael Lyons. As outlined in the program notes, the "duet is framed in a traditional rondo form: ABACA. The returns of the A theme are never literal returns and repeated materials among the differing sections are never identical repetitions. These returns of A are the inspiration for the title, and the re-occurrence of the A material is a study on the lengths that a theme can be stretched and still be recognizable. The returns undergo extensive development. The B and C sections are meant to be extreme contrasts to the A sections as a means of cleansing the aural palate in order to erase the listener's memory of the theme. Despite the great lengths taken to blur the primary theme, its recognizability is undeniable. The closing section is a reflection on the basic differences among the three occurrences of the main theme. This final section is a summation of the processes that have previously been blurred by the contrasting sections of the piece. Ultimately the form portrays a futile fight that concludes with a peaceful resignation to the inevitable."
The premiere of Recurrence took place in July, 2017, with Kenneth Cox (flute) and Bronwyn Schuman (piano). The performance was recorded by audio engineer Charles Hagaman; a sample can be heard by clicking the mp3 icon. The cover artwork for our publication was created by Scoop Brancisco, used with permission.
Piano score, 10 pages; Flute part, 3 pages; Total, 15 pages.
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Saint-Saëns - Fantaisie - Flute
Fantaisie, Op.124, by Camille Saint-SaënsTranscribed for Flute (originally for violin) by Peter H. Bloom
Flute Part, PDF $8.98
The following excerpt is taken from Peter H. Bloom's foreword to the edition:
"We flutists are always on the lookout for great repertoire to perform with harp, and the Fantaisie is a perfect gem to purloin from the violinists' repertoire. The expressively romantic melodies, lush impressionistic sonorities, athletic intervals, diversity of articulation, variety of dynamics, and evocative exoticism are ideal for the flute. The few problems of range are easily modified, customized, accommodated. As a duo, the work features both instruments in equally prominent and demanding roles. It's no surprise, then, that a number of flute transcriptions have been generated over the years. My goal, in this current work, is to provide fellow flutists with a significantly fresh approach to the Fantaisie.
Although a simplified adaptation of the Fantaisie is fairly straightforward, an arrangement that preserves the thrilling virtuosic intensity and rhetorical thrust of the work is another matter. An accurate presentation of Saint-Saëns's aural palette is essential to an authentic performance of the Fantaisie, and methods of achieving dynamic balance and tonal color often differ between flute and violin. The rhetorical nuances of articulation between the two instruments also require different approaches to achieve equivalent interpretations. The treatment of the violin pizzicato at measure 178, the elimination of articulation marks at measure 11, the inversions of double-stops/tremolos at measure 43-44 and 77-86, and the octave transposition from measure 184-194 exemplify these accommodations.
Violin double-stops present a conundrum. Technically impossible on the flute, double-stops are often reduced to a single line. The lower part is simply excised. But discarding the sonic complexity and virtuosic gesture of Saint-Saëns's parallel voicing dilutes the music and belies the composer's dramatic intentions. I've suggested double-stops be executed, on the flute, as tremolos. They're somewhat challenging but not impossible. Consider that the tremolo, as a virtuoso flute technique, was perhaps more popular during the composer's lifetime than in the late 20th and early 21st centuries.
Changes to the original violin part are made, here, with the intention of conserving the composer's ingenious creation. After a decade of study, experimentation, adjustment, and performance of this work, I've settled on a transcription for flute that conveys, with integrity, the musical spirit of the original orchestration."
P. H. Bloom, May 11, 2013 ©
Click the icon to listen to a portion of the Saint-Saëns's Fantaisie performed by the duo "2", Peter H. Bloom on flute and Mary Jane Rupert on harp. Or watch part of a performance video on YouTube. Fantaisie, Op.124 was written originally for violin and harp. We provide the Fantaisie flute part transcribed by P. H. Bloom; the harp part is available as a free PDF download from online libraries of public domain music, such as imslp.org.
Flute part, 7 pages; Total, 12 pages.
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We also offer a professionally-printed hard copy edition of Fantaisie, Op.124 by Saint-Saëns, transcribed for Flute for $14.99 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.
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Samolis - Canal - Soprano & Flute
Canal, by Matt SamolisContemporary Composition for Soprano and Flute, PDF $13.95
Matt Samolis began studying flute, then later composition and tenor banjo. He has worked with ensembles at New England Conservatory, Brandeis University, and Tufts University, as well as Open Hand Theatre, Pilgrim Research Collaborative, and numerous other projects. Currently, his primary focus is composition, curating, and performing as a flutist with various local groups, as well as his drone alliance, The Metal & Glass Ensemble.
Canal is written in a free, self referential style, and uses the text of Roy Campbell's poem of the same name, written in 1920. Despite the somber text, the mood is idyllic and somewhat reminiscent of the contemporary musical language in use at that time. Each player also has a brief ad lib section, where they can interpret the material as they choose.
Click to listen to two snippets of an audio recording of Canal, performed by soprano Noell Dorsey and composer/flutist Matt Samolis:
Canal Owlseyes Canal WhiteflameOr listen to the full recording on Matt's website.
Score for Soprano and Flute, 5 pages; Total, 7 pages.
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Samolis - Duo for Two Flutes - Flutes
Duo for Two Flutes, by Matt SamolisContemporary Composition for Two Flutes, PDF $17.99
Duo for Two Flutes was written using twelve tone techniques. The original tone row was divided in half, with each set of six tones being used to generate one of the flute parts. Frequently changing time signatures reflect compositional organization of the pitches, and does not establish meter. The piece has a playful, somewhat mechanical feel.
To listen to bits of a recording of Duo for Two Flutes performed by Matt Samolis and Peter H. Bloom, click on the icons below.Score for Two Flutes, 8 pages; Total, 11 pages.
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