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The Girl With the Flaxen Hair

The Girl with the Flaxen Hair (La fille aux cheveux de lin) was composed by Claude Debussy (1862 - 1918) around 1910 and is included in his first book of Preludes for solo piano. It is one of his most well-known and oft-recorded works, beloved for its warmth and simplicity. Here, it is arranged for flute choir by Nicholas Buonanni. The Girl with the Flaxen Hair (La fille aux cheveux de lin) was composed by Claude Debussy (1862 - 1918) around 1910 and is included in his first book of Preludes for solo piano. It is one of his most well-known and oft-recorded works, beloved for its warmth and simplicity. Here, it is arranged for flute choir by Nicholas Buonanni.

Christmas Medley: Four Carols with Variations

This Christmas Medley arrangement by Canadian composer David Taubner consists of four well-loved carols: Angels We Have Heard on High, Hark, the Herald Angels Sing, We Three Kings of Orient Are and Away in a Manger. After the presentation of each carol, a variation on that theme follows. This work was composed for the Sweet Silver Flute Choir of Winnipeg, Manitoba. This Christmas Medley arrangement by Canadian composer David Taubner consists of four well-loved carols: Angels We Have Heard on High, Hark, the Herald Angels Sing, We Three Kings of Orient Are and Away in a Manger. After the presentation of each carol, a variation on that theme follows. This work was composed for the Sweet Silver Flute Choir of Winnipeg, Manitoba.

A Journey With Love for Flute Choir

Meditation on 'Abide With Me' for Flute Choir

A Lantern Lit With Borrowed Light for Flute Choir

Waking of the Green Spring

Anže Rozman's Waking of the Green Spring (Prebujanje zelene pomladi) draws together Impressionism and Minimalism as it paints an image of the titular spring erupting to life. The piece opens with the four flutes painting a mysterious running texture based in whole tones, swelling and fading in turns. The central slower section creates an almost reverent choral sound with large blocks of chords, building again into the opening textures but colored with more complex melodies and staccato runs. The work ends with a gentle spring dreamscape.Anže Rozman's Waking of the Green Spring (Prebujanje zelene pomladi) draws together Impressionism and Minimalism as it paints an image of the titular spring erupting to life. The piece opens with the four flutes painting a mysterious running texture based in whole tones, swelling and fading in turns. The central slower section creates an almost reverent choral sound with large blocks of chords, building again into the opening textures but colored with more complex melodies and staccato runs. The work ends with a gentle spring dreamscape.

Reflections on Sephardic Melodies

This collection of pieces by David Loeb, written for piccolo alone, derive from melodies of the Sephardic tradition, an oral tradition remarkably well preserved despite dispersion and fragmentation of the Spanish Jewish community more than five centuries ago. The melodies display a remarkably hybrid aspect, with elements of Jewish, Islamic, Central European and indigenous Spanish musical traditions present in varying extents, always blended with consummate skill and taste. Some melodies seem Medieval, with comparatively static harmonic implications, while the more chromatic and harmonically active melodies suggest a close affinity with the Renaissance. In five movements: Por quéllorax blanca niña, Morena ma llaman, Ya viene el cativo, Nani, nani, Una matica de ruda. This collection of pieces by David Loeb, written for piccolo alone, derive from melodies of the Sephardic tradition, an oral tradition remarkably well preserved despite dispersion and fragmentation of the Spanish Jewish community more than five centuries ago. The melodies display a remarkably hybrid aspect, with elements of Jewish, Islamic, Central European and indigenous Spanish musical traditions present in varying extents, always blended with consummate skill and taste. Some melodies seem Medieval, with comparatively static harmonic implications, while the more chromatic and harmonically active melodies suggest a close affinity with the Renaissance. In five movements: Por quéllorax blanca niña, Morena ma llaman, Ya viene el cativo, Nani, nani, Una matica de ruda.

Divertimento

Divertimento is an original trio by Arthur Frackenpohl that was written at the request of a trio for a senior flute recital at the Crane School of Music. The first movement, Introduction, is in sonata form with two contrasting themes, closing section, short development and recapitulation. In the second movement, Passacaglia, the dorian theme is stated canonically, with variations on the eight bar theme and closing in quietly in the minor. The third movement is a lively Scherzo with a rhythmic first section employing some echo effects before moving into a more subdued and legato trio. The final movement is an energetic Fughetta, which uses the contrapuntal devices ofinversion, augmentation and stretto. Each movement can be played by itself, or in combination with the other movements. Divertimento is an original trio by Arthur Frackenpohl that was written at the request of a trio for a senior flute recital at the Crane School of Music. The first movement, Introduction, is in sonata form with two contrasting themes, closing section, short development and recapitulation. In the second movement, Passacaglia, the dorian theme is stated canonically, with variations on the eight bar theme and closing in quietly in the minor. The third movement is a lively Scherzo with a rhythmic first section employing some echo effects before moving into a more subdued and legato trio. The final movement is an energetic Fughetta, which uses the contrapuntal devices ofinversion, augmentation and stretto. Each movement can be played by itself, or in combination with the other movements.

Fanfare 36

Fanfare 36 was composed especially for the 2008 National High School Flute Choir, with its premiere performance on during the 36th Annual Convention of the National Flute Association (NFA) in Kansas City, Missouri. If Fanfare 36 conjures up images of a marching flute choir forming patterns on the field complete with twirlers, color guard and drum line, then it has achieved its goal! Fanfare 36 was composed especially for the 2008 National High School Flute Choir, with its premiere performance on during the 36th Annual Convention of the National Flute Association (NFA) in Kansas City, Missouri. If Fanfare 36 conjures up images of a marching flute choir forming patterns on the field complete with twirlers, color guard and drum line, then it has achieved its goal!

The Swan and The Elephant : from The Carnival of the Animals

One of Camille Saint-Saens most popular works is The Carnival of the Animals, composed in 1886 for two pianos and small chamber orchestra. Two of the movements, The Swan and The Elephant have been arranged here for solo bass clarinet with clarinet choir accompaniment. Additionally, The Elephant can be performed as a contra clarinet (and/or string bass) feature, with the parts provided in the set. One of Camille Saint-Saens most popular works is The Carnival of the Animals, composed in 1886 for two pianos and small chamber orchestra. Two of the movements, The Swan and The Elephant have been arranged here for solo bass clarinet with clarinet choir accompaniment. Additionally, The Elephant can be performed as a contra clarinet (and/or string bass) feature, with the parts provided in the set.

Four Preludes for the Season of Worship

The four preludes included in this collection are each based upon a tune associated with a particular time of the church calendar. The Lenten prelude, Meditation upon "Forty Days and Forty Nights", likewise employs a theme with interpolations approach. The hymn tune, Heinlein, is most closely associated with the English text, "Forty days and forty nights, Thou wast fasting in the wild". However in the midst of this piece occur short musical representations of the three temptations. In the case of the Variations on an Old French Carol, its association is with both Easter in its text of "Love is Come Again" and in its Christmas text of "Noel Nouvelet" (or as sung inEnglish, "Sing We Now of Christmas"). The advent prelude, Meditation upon a Sarum Plainsong, uses the 7th century plainsong chant Conditor Alme Siderum as its basis, with frequent trope-like interpolations occurring between the phrases. Even more simply conceived, the rendering of the Victorian Christmas hymn, Once in Royal David's City. The first verse is played sweetly and simply, while harmonic material is added for verses two and three. The four preludes included in this collection are each based upon a tune associated with a particular time of the church calendar. The Lenten prelude, Meditation upon "Forty Days and Forty Nights", likewise employs a theme with interpolations approach. The hymn tune, Heinlein, is most closely associated with the English text, "Forty days and forty nights, Thou wast fasting in the wild". However in the midst of this piece occur short musical representations of the three temptations. In the case of the Variations on an Old French Carol, its association is with both Easter in its text of "Love is Come Again" and in its Christmas text of "Noel Nouvelet" (or as sung inEnglish, "Sing We Now of Christmas"). The advent prelude, Meditation upon a Sarum Plainsong, uses the 7th century plainsong chant Conditor Alme Siderum as its basis, with frequent trope-like interpolations occurring between the phrases. Even more simply conceived, the rendering of the Victorian Christmas hymn, Once in Royal David's City. The first verse is played sweetly and simply, while harmonic material is added for verses two and three.

Minuet and Dance of the Blessed Spirits

The beautiful Minuet and Dance of the Blessed Spirits by Christoff Willibald Gluck is a favorite work of all flute players. Feature your first chair player with this arrangement by Matt Johnston. The beautiful Minuet and Dance of the Blessed Spirits by Christoff Willibald Gluck is a favorite work of all flute players. Feature your first chair player with this arrangement by Matt Johnston.

Cavatina and Cabaletta

The Cavatina and Cabaletta format originated in the bel canto era as a showpiece for virtuosi. A short and lyrical arietta was followed by a quick section with fioratura, designed to show off the performer. The Cavatina and Cabaletta format originated in the bel canto era as a showpiece for virtuosi. A short and lyrical arietta was followed by a quick section with fioratura, designed to show off the performer.

Scherzino

The Scherzino of Joachim Andersen (1847—1909) belongs to his opus 55 collection of eight recital pieces. Here, it is arranged by Matt Johnston for solo flute with the accompaniment of a small flute choir (the contrabass/contralto flute part is optional). Additionally, this work is available in another volume for solo flute and strings. It is possible to play it in unison with a group of string players, such as a string quartet or orchestra. The Scherzino of Joachim Andersen (1847—1909) belongs to his opus 55 collection of eight recital pieces. Here, it is arranged by Matt Johnston for solo flute with the accompaniment of a small flute choir (the contrabass/contralto flute part is optional). Additionally, this work is available in another volume for solo flute and strings. It is possible to play it in unison with a group of string players, such as a string quartet or orchestra.

Adagio and Allegro, Op. 70

Robert Schumann (1810-1856), composed this Adagio and Allegro, Op. 70, for horn and piano in 1859. Along with the Fantasy Pieces for clarinet and piano, and the Three Romances for oboe and piano, it rounds out his small yet important output of solo repertoire for wind instruments. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn. Robert Schumann (1810-1856), composed this Adagio and Allegro, Op. 70, for horn and piano in 1859. Along with the Fantasy Pieces for clarinet and piano, and the Three Romances for oboe and piano, it rounds out his small yet important output of solo repertoire for wind instruments. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.

Divertimento No. 2

Divertimento No. 2 was composed in 2016 to showcase Flute Street, a Toronto-based, professional flute ensemble in which Isaac's mother, Carolyn Ricketts, is a founding member. Flute Street first performed the work that November in Toronto and then, because of its generous attention to the melodic possibilities of the alto, bass and contrabass flute colours, chose to premiere it in Reston, Virginia (U.S.A.) at the First International Low Flutes Festival in April 2018. The composer notes "As with my other Divertimenti, this work deals with how similar elements can create contrast. The homogeneous timbre of the flute choir is used in this work to highlight the formal contrasts thatare at play. Structured in an arch form, the work starts with a complex harmonic language that gradually simplifies. As the harmonic language simplifies, the accompaniment becomes more complex." Divertimento No. 2 was composed in 2016 to showcase Flute Street, a Toronto-based, professional flute ensemble in which Isaac's mother, Carolyn Ricketts, is a founding member. Flute Street first performed the work that November in Toronto and then, because of its generous attention to the melodic possibilities of the alto, bass and contrabass flute colours, chose to premiere it in Reston, Virginia (U.S.A.) at the First International Low Flutes Festival in April 2018. The composer notes "As with my other Divertimenti, this work deals with how similar elements can create contrast. The homogeneous timbre of the flute choir is used in this work to highlight the formal contrasts thatare at play. Structured in an arch form, the work starts with a complex harmonic language that gradually simplifies. As the harmonic language simplifies, the accompaniment becomes more complex."

Fanfare 42

Fanfare 42 is a composition with intricate splashes of colour set amidst brilliant melodic harmonic writing. The number 42 in the title is in commemoration of the forty-second annual convention of the National Flute Association that this music joyously celebrates. Fanfare 42 is a composition with intricate splashes of colour set amidst brilliant melodic harmonic writing. The number 42 in the title is in commemoration of the forty-second annual convention of the National Flute Association that this music joyously celebrates.

Allegretto from Symphony No. 7

Beethoven's Seventh Symphony, op. 92, created in 1812, was composed entirely without a slow movement. Instead, this famous Allegretto opens with a statement of an A minor chord followed by a rhythmic and hypnotic theme - a somewhat sombre and dream-like march. Beethoven's Seventh Symphony, op. 92, created in 1812, was composed entirely without a slow movement. Instead, this famous Allegretto opens with a statement of an A minor chord followed by a rhythmic and hypnotic theme - a somewhat sombre and dream-like march.

Albisiphonics

Albisiphonics is a piece for bass flute and piano written for Peter Sheridan on the occasion of his acquiring an Albisiphon Baritono. This rare flute was manufactured c. 1920 and was designed by Albelardo Ernesto Albisi (1872-1938), who from 1897 was the principal flutist for La Scala in Milan, Italy. In 1910, Albisi designed a family of such instruments with varying ranges. The Albisiphon Baritono, having essentially the same range as the modern bass flute, including a B foot, is an upright instrument with a T-shaped head and a large bore. Albisiphonics celebrates all three octaves of the modern bass flute and features many of its moods: the unapologetically-romantic andlyrical, the brash with its staccato syncopations, the contemplative, the tender, the exuberant and the euphoric. Movements include: Early Morning Departure. First Star, The Unfettered Mind, Shades Make the Musician. Albisiphonics is a piece for bass flute and piano written for Peter Sheridan on the occasion of his acquiring an Albisiphon Baritono. This rare flute was manufactured c. 1920 and was designed by Albelardo Ernesto Albisi (1872-1938), who from 1897 was the principal flutist for La Scala in Milan, Italy. In 1910, Albisi designed a family of such instruments with varying ranges. The Albisiphon Baritono, having essentially the same range as the modern bass flute, including a B foot, is an upright instrument with a T-shaped head and a large bore. Albisiphonics celebrates all three octaves of the modern bass flute and features many of its moods: the unapologetically-romantic andlyrical, the brash with its staccato syncopations, the contemplative, the tender, the exuberant and the euphoric. Movements include: Early Morning Departure. First Star, The Unfettered Mind, Shades Make the Musician.

Concerto

The Concerto for Flute by Eugene Magalif was completed in 2015. In February 2016, it was recorded for the CD album "Colibri" by soloist Patrick Dillery, flute (USA) and Dnipro Symphony Orchestra (Ukraine), and a few days later, in March, the World Premiere took place in Dnipro Philharmonic Hall. It consists of three movements: Allegretto – Andante – Allegro, and the form is close to similar works of the 18th century. The first and third movements are written in the rondo-variation form, while the second movement is a three-part fugue with a freely-floating flute obbligato, each combining styles of 18th-19th century classical music with modern popular music.The Concerto for Flute by Eugene Magalif was completed in 2015. In February 2016, it was recorded for the CD album "Colibri" by soloist Patrick Dillery, flute (USA) and Dnipro Symphony Orchestra (Ukraine), and a few days later, in March, the World Premiere took place in Dnipro Philharmonic Hall. It consists of three movements: Allegretto – Andante – Allegro, and the form is close to similar works of the 18th century. The first and third movements are written in the rondo-variation form, while the second movement is a three-part fugue with a freely-floating flute obbligato, each combining styles of 18th-19th century classical music with modern popular music.

Concerto

The Concerto for Flute by Eugene Magalif was completed in 2015. In February 2016, it was recorded for the CD album "Colibri" by soloist Patrick Dillery, flute (USA) and Dnipro Symphony Orchestra (Ukraine), and a few days later, in March, the World Premiere took place in Dnipro Philharmonic Hall. It consists of three movements: Allegretto – Andante – Allegro, and the form is close to similar works of the 18th century. The first and third movements are written in the rondo-variation form, while the second movement is a three-part fugue with a freely-floating flute obbligato, each combining styles of 18th-19th century classical music with modern popular music.The Concerto for Flute by Eugene Magalif was completed in 2015. In February 2016, it was recorded for the CD album "Colibri" by soloist Patrick Dillery, flute (USA) and Dnipro Symphony Orchestra (Ukraine), and a few days later, in March, the World Premiere took place in Dnipro Philharmonic Hall. It consists of three movements: Allegretto – Andante – Allegro, and the form is close to similar works of the 18th century. The first and third movements are written in the rondo-variation form, while the second movement is a three-part fugue with a freely-floating flute obbligato, each combining styles of 18th-19th century classical music with modern popular music.

Remembrances, Volume 1: Debussy

Remembrances, Volume 1: Debussy, was commissioned by Kathleen Osborn for the West Michigan Flute Orchestra's music director Darlene Dugan, and is dedicated to the memory of Kathleen's husband Brad Osborn. Brad Osborn, who attended all of the WMFO's concerts was an accomplished pianist with a passion for teching the joy of music to his young students. Kathy felt a desire to honor Brad with music he especially enjoyed and asked Kelly Via to write a piece based on the piano compositions of his favorite composers: Claude Debussy, Camille Saint-Saens, and Scott Joplin. Both Kathy and Kelly agreed that the work should not be a transcription but rather an "interpretation" of Brad'sfavorite compositions. Remembrances, Volume 1: Debussy, was commissioned by Kathleen Osborn for the West Michigan Flute Orchestra's music director Darlene Dugan, and is dedicated to the memory of Kathleen's husband Brad Osborn. Brad Osborn, who attended all of the WMFO's concerts was an accomplished pianist with a passion for teching the joy of music to his young students. Kathy felt a desire to honor Brad with music he especially enjoyed and asked Kelly Via to write a piece based on the piano compositions of his favorite composers: Claude Debussy, Camille Saint-Saens, and Scott Joplin. Both Kathy and Kelly agreed that the work should not be a transcription but rather an "interpretation" of Brad'sfavorite compositions.

Nachtpoema

Prosper Van Eechaute (1904-1964), born in Ghent, was a Belgian composer, conductor and teacher. While a student at the Ghent Royal Conservatory, he was awarded first prize for cello, harmony, chamber music, counterpoint and fugue, in addition to the Emile Mathieu prize for composition in 1930. His Nachtpoema for Horn and Orchestra (or Piano), was written in 1938, however the premiere took place towards the end of his life in 1962, with Maurice Van Bocxstaele as the horn soloist. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.Prosper Van Eechaute (1904-1964), born in Ghent, was a Belgian composer, conductor and teacher. While a student at the Ghent Royal Conservatory, he was awarded first prize for cello, harmony, chamber music, counterpoint and fugue, in addition to the Emile Mathieu prize for composition in 1930. His Nachtpoema for Horn and Orchestra (or Piano), was written in 1938, however the premiere took place towards the end of his life in 1962, with Maurice Van Bocxstaele as the horn soloist. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.

Cantilena and Rigadoon

Cantilena has a song-like quality which the performer should try to convey, while the Rigadoon is a moderately fast dance movement, both arranged here together for contra clarinet with piano accompaniment. In the case of this Cantilena and Rigadoon, the solo part fit so well into the range of the clarinet, it only made sense to keep the solo part the same for each instrument (contrabass and contralto) and to transpose the piano part. Thus, a single solo part is included, as well as two separate piano parts, corresponding to the contrabass clarinet (in B-flat) and contralto clarinet (in E-flat). This work can be played with either a contrabass or contralto clarinet.Cantilena has a song-like quality which the performer should try to convey, while the Rigadoon is a moderately fast dance movement, both arranged here together for contra clarinet with piano accompaniment. In the case of this Cantilena and Rigadoon, the solo part fit so well into the range of the clarinet, it only made sense to keep the solo part the same for each instrument (contrabass and contralto) and to transpose the piano part. Thus, a single solo part is included, as well as two separate piano parts, corresponding to the contrabass clarinet (in B-flat) and contralto clarinet (in E-flat). This work can be played with either a contrabass or contralto clarinet.

Ten Pocket-Sized Trios

Ten Pocket-Sized Trios is a collection of vignettes arranged for flute, guitar, and cello by Jan Boland (with guitar adaptations by John Dowdall). For two of the titles, there is an alto flute transposition of the C flute part. Additionally, for the entire collection, the cello part can be considered optional. Ten Pocket-Sized Trios is a collection of vignettes arranged for flute, guitar, and cello by Jan Boland (with guitar adaptations by John Dowdall). For two of the titles, there is an alto flute transposition of the C flute part. Additionally, for the entire collection, the cello part can be considered optional.