Vocal Soloists

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.

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U.S. customers may purchase professionally-printed hard copies of In die Ferne for $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.

On Dit!, by Jules Massenet

Transcribed for Clarinet, Voice and Piano by C. A. Vater

Score for Clarinet, Voice and Piano; Alternative Parts for A-Clarinet and B-flat-Clarinet, PDF $8.99

Massenet’s composition On dit! is a musical setting of the eponymous poem by Jean Roux in which the poet ponders how the word “love” is commonly and inevitably associated with the sweetness and delights of spring. In addition to the vocal line and piano accompaniment, Massenet provided On dit! with a prominent part for cello. The cello line can be readily adapted for clarinet, creating a lovely and suitable new version of the piece for clarinet, voice, and piano. Our Noteworthy Sheet Music edition includes a score in concert pitch, as well as individual parts for either A-clarinet or B-flat-clarinet transcribed from the original cello part. Clarinetists in possession of both A and B-flat instruments may develop a personal preference for playing this piece on one instrument over the other, based on tone quality, complementarity with a particular singer’s sound, etc.

Score, 5 pages; A-Clarinet Part, 2 pages; B-flat-Clarinet Part, 2 pages; Total, 16 pages.

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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.

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Canal, by Matt Samolis

Contemporary 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 Whiteflame

Score for Soprano and Flute, 5 pages; Total, 7 pages.

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US customers may purchase professionally-printed hard copies of Canal from Noteworthy Sheet Music for $20.93 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.

Not-Pooh Songs, by Tom Schnauber

For Female Voice and Flute or Female Voice and Oboe, 2 editions

Score for Female Voice and Flute, PDF $18.46
Score for Female Voice and Oboe, PDF $18.46

Tom Schnauber’s Not-Pooh Songs are absolutely delightful. The composer has set to music six children’s poems by A. A. Milne, four from When We Were Very Very Young (“The Alchemist”, “The Mirror”, “The Four Friends”, and “If I Were King”) and two from Now We Are Six ("The Charcoal Burner" and "The Engineer"). The work is offered by Noteworthy Sheet Music, LLC in two publications, one for female voice and flute, the other for female voice and oboe. The oboe line is sufficiently different from the flute line in terms of register to warrant it being published as a separate edition (i.e., the flute version makes use of that instrument’s wider range by putting some material in higher octaves). Also, the flute edition includes an alternate variation of “The Mirror” for voice and alto flute, whereas the oboe edition includes an alternate variation of “The Mirror” for voice and English horn.

It’s clear from hearing this music that Schnauber gets a real kick out of Milne’s poetry. The flute/oboe comments, echoes, etc. go with or against the voice line very effectively and entertainingly. These songs will have broad appeal to both players and audiences, and there’s a lot that a pair of performers could do with them. The music isn’t easy, but provides just the sort of challenges that the adventuresome player loves; in places, for example, the flute jumps from C7 to C4, plays multiphonics, and executes finger snaps. But, as the composer has pointed out, just because the music is somewhat demanding doesn’t mean that it should be presented seriously in performance; on the contrary, players should have fun with these pieces and convey the intended joy and playfulness of the work.

Note that both performers are to play from the score, so flutists and oboists may want to print their copy of the score single-sided to avoid a few difficult page turns.

To listen to a recording of Not-Pooh Songs performed by Mitsi Westra, voice, and Pamela French, oboe, visit Tom Schnauber’s SoundCloud page at https://soundcloud.com/user-557772917/sets/not-pooh-songs.

► Schnauber - Not-Pooh Songs - Voice and Flute - PDF

Preview: Not-Pooh Songs for Voice and Flute, p1

Score for female voice and flute, 22 pages; Lyrics, 2 pages; Total, 28 pages.

 

 

► Schnauber - Not-Pooh Songs - Voice and Oboe - PDF

Preview: Not-Pooh Songs for Voice and Oboe, p7

Score for female voice and oboe, 22 pages; Lyrics, 2 pages; Total 28 pages

 

 

Front cover images courtesy of Wikipedia.org, Wikimedia.org, and Free Vector Snail Clip Art; Asian Elephant and Lion files are made available under the Creative Commons CC0 1.0 Universal Public Domain Dedication. 
- Elephant: author: Shyamal, https://en.m.wikipedia.org/wiki/File:Asian_Elephant_Icon.svg
- Lion: author: openclipart.org, https://commons.wikimedia.org/wiki/File:Lion_clipart.svg
- Goat: released into the public domain by its author, LadyofHats. https://commons.wikimedia.org/wiki/File: Goat_cartoon_04.svg
- Snail: Free Vector Snail Clip Art: Snail Clip Art is a completely free picture material, which can be downloaded and shared unlimitedly.
https://www.seekpng.com/ipng/u2q8y3t4a9e6a9q8_free-vector-snail-clip-art-snail-clip-art/

 

 

 

Auf dem Strom, Op.119, by Franz Schubert

Obbligato transcribed for A-Clarinet by C. A. Vater

Piano Score and Parts for Voice and A-Clarinet, PDF $9.50

The great Austrian composer Franz Peter Schubert (1797-1828) was a master at creating extremely beautiful, melodic, emotional lieder. His song Auf dem Strom (On the River) provided a musical setting for the text of the eponymous poem written by the German poet and music critic Ludwig Rellstab. The lyrics tell the story of a sad parting, of the yearning and loneliness that sets in as the narrator bids farewell to a loved one on shore, while his river journey carries him away towards the sea. The premier performance of Auf dem Strom took place in Schubert’s 1828 public concert, during which the obbligato part was played by Josef Lewy on horn, the instrument for which the obbligato was written and which undoubtedly can provide an appropriately mournful, sentimental character to the piece. However, an alternate obbligato version for cello was also published. Now, with all respect, we provide an A-clarinet version of the obbligato, in expectation that clarinetists will appreciate this addition to the voice/clarinet/piano repertoire. We believe that a well-played clarinet can aptly contribute a suitably complex, dolorous essence and tone that will adequately do justice to this highly romantic lied by Schubert. Schubert himself created one of his most wonderful and popular works, Der Hirt auf dem Felsen, for clarinet obbligato, and we hope he would welcome our adaptation of Auf dem Strom for A-clarinet.

 

Score, 19 pages; Voice part, 4 pages; A-Clarinet part, 4 pages; Total, 32 pages.

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Auf dem Strom, Op.119, by Franz Schubert

Obbligato transcribed for Bass Flute by C. A. Vater

Piano Score and Parts for Voice and Bass Flute, PDF $9.50

The great Austrian composer Franz Peter Schubert (1797-1828) was a master at creating extremely beautiful, melodic, emotional lieder.  His song Auf dem Strom (On the River) provided a musical setting for the text of the eponymous poem written by the German poet and music critic Ludwig Rellstab.  The lyrics tell the story of a sad parting, of the yearning and loneliness that sets in as the narrator bids farewell to a loved one on shore, while his river journey carries him away towards the sea.  The premier performance of Auf dem Strom took place in Schubert's 1828 public concert, during which the obbligato part was played by Josef Lewy on horn, the instrument for which the obbligato was written and which undoubtedly can provide an appropriately mournful, sentimental character to the piece.  However, an alternate obbligato version for cello was also published.  Now, with all respect, and at the suggestion of our flutist colleague Peter H. Bloom, we offer a bass flute version of the obbligato.  Most of the transposed horn part falls nicely within the sweet range of the bass flute, and very few adaptations were required.  Though clearly having different sonic qualities than a horn, the bass flute lends a forlorn, haunting, earthy tone that can well do justice to this Schubert song.  After giving the bass flute obbligato a try, Mr. Bloom commented: "Fabulous! // The tone-color of the bass flute for this number is gorgeous."

Piano score, 19 pages; Bass Flute part, 4 pages; Total, 32 pages.

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Erlkönig, by Franz Schubert

Arranged for Cello (or Viola or Alto Flute) and Piano by John W. Pratt

Piano Score and Parts for Cello/Voice, Viola, and Alto Flute; PDF $11.99

Franz Schubert (1797-1828), inspired by reading Goethe's poem, wrote his song "Erlkönig" in a few hours in 1815. The song was an immediate hit, and continues to be popular to the present day. John Pratt has created a trio arrangement for flute, cello, and piano (click for more information), and also the duo version offered here with Schubert's solo voice part transposed for cello (or viola or alto flute), and with a less arduous alternative to Schubert's piano accompaniment.

Excerpted from Mr. Pratt's © preface:
"In the duo arrangement, Schubert's solo part is adopted without change. Thus the piano must provide the entire accompaniment, but rocking triplets and other pianistically felicitous passagework replace Schubert's unremitting repetition. The range of sonorities is also wider than Schubert's, though more restrained than that of the trio arrangement, where the flute enlarges the musical terrain. This accompaniment is offered as a less punishing alternative to Schubert's, to be played with a singer or any solo instrument. Solo parts are provided for voice or cello, viola, and alto flute."

Piano score, 6 pages; Cello, Viola, and Alto Flute parts, 2 pages each; Total, 22 pages.

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Sing-Along Materials, arranged by John W. Pratt

Piano Scores and Lyrics, Free Downloads

In an ongoing project with John Pratt, we are uploading a variety of free materials for community sing-alongs.  These include large-font lyrics sheets and piano scores with modifications or arrangements by Mr. Pratt.  Just click on the title links or download buttons to access the pdfs, free of charge.
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We Gather Together - Netherlands folk song   optional piccolo part He has also made a version without octaves for two players at one piano.    We Gather Together, 4-hand version without octaves

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Large-font lyrics for Christmas carols and Thanksgiving songs [1] to [42]

Mr. Pratt has also created a booklet format for the large-font lyrics for holiday songs [1] to [42], called The NSM Carol Book, which is handy for group sing-alongs and is easily re-usable.  The booklets should be printed double-sided on 8.5" x 11" paper (or 9" x 12", if available), stapled in the middle and folded to form a 5.5" x 8.5" booklet.  Since printing directions will be different for every printer, we leave it to our visitors to know what settings to use on their own equipment to have all pages come out in order, right-side up, etc.  With my Canon ImageCLASS MF4890 machine, for example, I would do the following: print using fit to page, landscape orientation, 2-sided, flipping on short edge; then staple along the mid-line and fold down the center along the staples so that the Contents are on the front page.  Note that a long-arm stapler (reaching to 5.5") is required for manual stapling, but some institutions may have printer/copiers that can auto-staple along the mid-line.

Muriel, by Edward G. Vater

Contemporary Ballad for Voice with Piano or Guitar Accompaniment

Edward G. Vater (1923-2018), my dad, was quite a remarkable man.  A lifelong-resident of New Britain, CT, he was an educator by profession, and served many years as a school teacher and later as a college administrator.  But he had numerous, diverse interests and took on many challenges over the years, including raising three children with his loving wife Anne (Mickey) Siton Vater, building a house, studying the Russian language, teaching English to Russian immigrants, working as a tool and die maker summers to support his young family, and serving his community in various roles such as Democratic Town Committee member, Justice of the Peace, and Chairman of the Public Works Department, to name a few.  Displaying a life-long love of music, he was heavily involved in school music programs as a child, and loved to sing and play saxophone and clarinet.  He played alto saxophone in dance bands during his stint in the U.S. Army Aircorps in England during WWII and stateside after returning home, often in groups with his two brothers, Al and Bob.  He sang and played his horn most days, still infusing his music with tenderness and passion, until a couple weeks before his death in April, 2018.

At age 93 and dealing with metastatic melanoma but still independent, Ed moved into an apartment in Arbor Rose, an independent-assisted living facility.  Upon hearing him sing his song Muriel, Denise Lebrocquy, one of the administrators there, arranged to take Ed to a professional music studio* to make a recording of him singing the tune, for which he had written the music and lyrics.  This was a beautiful and uplifting experience for him, and one for which I too am very grateful.  The audio file may be heard by clicking the mp3 link below.  John Pratt, Jerry Gleason, and I entered the melody, chords, and lyrics for Muriel into a music notation software program for publication of the lead sheet on NSM, so we can share my dad’s moving love-song with our website visitors and pay tribute to a wonderful man and a life well-lived.

―Carol A. Vater, December 21, 2016

―revised 4/22/18

Ed Vater passed away on April 18, 2018; he would have turned 95 that June.

 

*Matt Berky, Massive Productions, LLC, Rocky Hill, CT http://massiveproductions.com/

Ed Vater wished to give thanks and dedicate his song Muriel to the Jerome Home/Arbor Rose health complex at 975 Corbin Avenue, New Britain, CT, and to health care providers everywhere.

We're making Muriel (Copyright © 2016 by Edward G. Vater) available free of charge, with the understanding that the song writer will be publicly credited upon any performance or other use of his song, and with the suggestion that donations be made to the Melanoma Research Alliance in support of finding a cure.  Click to download a PDF of the NSM edition of the Muriel lead sheet or to listen to the Muriel audio recording. 

A video of Ed Vater being interviewed and singing Muriel aired in the Hartford area on NBC on January 1, 2017; here's a link to the full news story, and another to just the music video.