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Concerto

One of Antonio Vivaldi's most oft-performed works, the Concerto, RV 537, originally for two trumpets and strings has been adapted here for two solo E-flat clarinets with clarinet choir accompaniment. To better suit the range of the clarinets, the whole work has been transposed to the key of E-flat Major. Included in the set of parts are two different versions of the solo parts: Solo parts without alterations, and solo parts including ornaments and embellishments from the arranger.One of Antonio Vivaldi's most oft-performed works, the Concerto, RV 537, originally for two trumpets and strings has been adapted here for two solo E-flat clarinets with clarinet choir accompaniment. To better suit the range of the clarinets, the whole work has been transposed to the key of E-flat Major. Included in the set of parts are two different versions of the solo parts: Solo parts without alterations, and solo parts including ornaments and embellishments from the arranger.

Wamakaskan for Solo Bass Flute (Sheet Music)

Concerto

One of Antonio Vivaldi's most oft-performed works, the Concerto, RV 537, originally for two trumpets and strings has been adapted here for two E-flat clarinets and piano. To better suit the range of the clarinets, the whole work has been transposed to the key of E-flat Major. Included in the set of parts are two different versions of the solo parts: Solo parts without alterations, and solo parts including ornaments and embellishments from the arranger. One of Antonio Vivaldi's most oft-performed works, the Concerto, RV 537, originally for two trumpets and strings has been adapted here for two E-flat clarinets and piano. To better suit the range of the clarinets, the whole work has been transposed to the key of E-flat Major. Included in the set of parts are two different versions of the solo parts: Solo parts without alterations, and solo parts including ornaments and embellishments from the arranger.

Reflexiones Espanolas

Reflexiones Espanolas is a three movement suite of works from the Spanish Renaissance, arranged for solo flute, solo guitar, strings and percussion by P. Brent Register. The pieces included are: Pavane by Luys Milan (c. 1500-c.1561), O vos omnes by Tomas Luis de Victoria (c. 1548-1611), and Diferencias sobre "Guardame las Vacas" by Luys de Narvaez (c. 1500-1555). Reflexiones Espanolas is a three movement suite of works from the Spanish Renaissance, arranged for solo flute, solo guitar, strings and percussion by P. Brent Register. The pieces included are: Pavane by Luys Milan (c. 1500-c.1561), O vos omnes by Tomas Luis de Victoria (c. 1548-1611), and Diferencias sobre "Guardame las Vacas" by Luys de Narvaez (c. 1500-1555).

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 strings (the double bass part is optional). Additionally, this work is available in another volume for solo flute and flute choir, such that a string orchestra and flute choir can play this piece together. 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 strings (the double bass part is optional). Additionally, this work is available in another volume for solo flute and flute choir, such that a string orchestra and flute choir can play this piece together.

Apres un Reve

Although mostly known for his orchestral music and Requiem, Gabriel Faure (1845 - 1924) composed more than 70 works for voice and piano, and was once commended by Maurice Ravel for saving French vocal music from the dominance of the German lied. One of the most famous of these art songs, Apres un reve (Op. 7, No. 1) is transcribed here for solo contra clarinet and piano. In the case of this art song, the solo part has been transposed to accommodate the key of each solo instrument, either a contrabass clarinet (in B-flat) or a contralto clarinet (in E-flat). This work can be played with either a contrabass or contralto clarinet.Although mostly known for his orchestral music and Requiem, Gabriel Faure (1845 - 1924) composed more than 70 works for voice and piano, and was once commended by Maurice Ravel for saving French vocal music from the dominance of the German lied. One of the most famous of these art songs, Apres un reve (Op. 7, No. 1) is transcribed here for solo contra clarinet and piano. In the case of this art song, the solo part has been transposed to accommodate the key of each solo instrument, either a contrabass clarinet (in B-flat) or a contralto clarinet (in E-flat). This work can be played with either a contrabass or contralto clarinet.

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.

The Swiss Boy

The Swiss Boy belongs to the vast repertoire of solo feature music of the nineteenth century concert-in-the-park bands. Before the days of electronic amplification, soloists had to be selected from amongst those instruments that were able to project their sound above the accompanying ensemble and beyond the bandstand to their audiences. Whereas the cornet was the undisputed first choice, the piccolo frequently claimed its solo position out in front. The Swiss Boy belongs to the vast repertoire of solo feature music of the nineteenth century concert-in-the-park bands. Before the days of electronic amplification, soloists had to be selected from amongst those instruments that were able to project their sound above the accompanying ensemble and beyond the bandstand to their audiences. Whereas the cornet was the undisputed first choice, the piccolo frequently claimed its solo position out in front.

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.

The Christmas Flutist: 20 Songs and Carols

The Christmas Flutist is a collection of 20 Songs and Carols arranged for solo flute by Judy Nishimura. The perfect companion for a flutist looking for music to play at a church service, a solo gig, or just to enjoy at home. Additionally, each arrangement has retained the key signature most commonly associated with the tune, thus they can easily be used as a prelude or introduction to the same titles used during a church service. The Christmas Flutist is a collection of 20 Songs and Carols arranged for solo flute by Judy Nishimura. The perfect companion for a flutist looking for music to play at a church service, a solo gig, or just to enjoy at home. Additionally, each arrangement has retained the key signature most commonly associated with the tune, thus they can easily be used as a prelude or introduction to the same titles used during a church service.

Elegia

Giovanni Bottesini (1821-1889) was widely regarded as the Paganini of the double bass and was one of the first champions of the instrument. Though he composed a wide range of music, from chamber music to operas, his legacy is his contribution to the double bass repertoire. Due to the similar ranges of the instruments, this repertoire is a perfect candidate for adaptation for contra clarinets. In this arrangement, 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. Giovanni Bottesini (1821-1889) was widely regarded as the Paganini of the double bass and was one of the first champions of the instrument. Though he composed a wide range of music, from chamber music to operas, his legacy is his contribution to the double bass repertoire. Due to the similar ranges of the instruments, this repertoire is a perfect candidate for adaptation for contra clarinets. In this arrangement, 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.

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

Camille Saint-Saëns (1835 - 1821) composed The Carnival of the Animals, one of his most popular works, in 1886. Though private performances were given during his lifetime, the first public performance took place only a few months following his death, in February 1922. The two movements arranged here, The Swan and The Elephant, lend themselves very well to the contra clarinets accompanied by piano, also providing a humorous contrast in both title and style. In the case of these two movements, the solo part has been transposed to accommodate the key of each solo instrument, either a contrabass clarinet (in B-flat) or a contralto clarinet (in E-flat). This work can be played witheither a contrabass or contralto clarinet. Camille Saint-Saëns (1835 - 1821) composed The Carnival of the Animals, one of his most popular works, in 1886. Though private performances were given during his lifetime, the first public performance took place only a few months following his death, in February 1922. The two movements arranged here, The Swan and The Elephant, lend themselves very well to the contra clarinets accompanied by piano, also providing a humorous contrast in both title and style. In the case of these two movements, the solo part has been transposed to accommodate the key of each solo instrument, either a contrabass clarinet (in B-flat) or a contralto clarinet (in E-flat). This work can be played witheither a contrabass or contralto clarinet.

Le Papillon

Although French-Canadian composer Calixa Lavallee is most well-known for composing the music to the Canadian national anthem "O Canada," his compositional output ranges from solo repertoire works to multiple comic operettas. His most popular work for piano, the virtuosic concert etude titled Le Papillon, has been arranged here for flute choir by Nicholas Buonanni. Although French-Canadian composer Calixa Lavallee is most well-known for composing the music to the Canadian national anthem "O Canada," his compositional output ranges from solo repertoire works to multiple comic operettas. His most popular work for piano, the virtuosic concert etude titled Le Papillon, has been arranged here for flute choir by Nicholas Buonanni.

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.

Seminare

Louis Anthony deLise's Seminare for Flute and Harp was written for flutist Joan Sparks and harpist Anne Sullivan. The compositions included in this suite are arrangements of solo piano pieces by deLise which began as improvisations, including “Natural Light,” “Mosaic II,” and “Little Lydian.” Though originally composed for flute and pedal harp, included in this edition are lever harp arrangements of the each of the movements. Louis Anthony deLise's Seminare for Flute and Harp was written for flutist Joan Sparks and harpist Anne Sullivan. The compositions included in this suite are arrangements of solo piano pieces by deLise which began as improvisations, including “Natural Light,” “Mosaic II,” and “Little Lydian.” Though originally composed for flute and pedal harp, included in this edition are lever harp arrangements of the each of the movements.

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.

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.

Passaggio

Louis Anthony deLise's Passaggio for Flute and Harp was written for flutist Joan Sparks and harpist Anne Sullivan. The compositions included in this suite are arrangements of solo piano pieces by deLise which began as improvisations, including “Early January,” “In the Edge of the Water,” and “Spring Rain.” Though originally composed for flute and pedal harp, included in this edition are lever harp arrangements of the first two movements. The third movement, being entirely diatonic, is suitable on both pedal and lever harp.Louis Anthony deLise's Passaggio for Flute and Harp was written for flutist Joan Sparks and harpist Anne Sullivan. The compositions included in this suite are arrangements of solo piano pieces by deLise which began as improvisations, including “Early January,” “In the Edge of the Water,” and “Spring Rain.” Though originally composed for flute and pedal harp, included in this edition are lever harp arrangements of the first two movements. The third movement, being entirely diatonic, is suitable on both pedal and lever harp.

Nocturno

Franz Strauss (1822-1905), the father of the composer Richard Strauss, played horn in the Bavarian Court Opera orchestra for more than 40 years and composed a number of repertoire pieces for the horn. The Nocturno, Op. 7, for horn and piano was first published in 1904. With a range that is very well suited to the bass flute, it is a great solo to showcase the expressive and lyrical side of the instrument. It has been arranged here by flutist Jeffrey Beyer. Franz Strauss (1822-1905), the father of the composer Richard Strauss, played horn in the Bavarian Court Opera orchestra for more than 40 years and composed a number of repertoire pieces for the horn. The Nocturno, Op. 7, for horn and piano was first published in 1904. With a range that is very well suited to the bass flute, it is a great solo to showcase the expressive and lyrical side of the instrument. It has been arranged here by flutist Jeffrey Beyer.

Spy!

A light-hearted character study, SPY! by Gay Kahkonen is sort of Bugs Bunny meets 007 for flutes. Its wild chromaticism winds each performer through the flute’s entire range while its spunky rhythms keep everyone hopping. Sure to be a crowd-pleaser. A light-hearted character study, SPY! by Gay Kahkonen is sort of Bugs Bunny meets 007 for flutes. Its wild chromaticism winds each performer through the flute’s entire range while its spunky rhythms keep everyone hopping. Sure to be a crowd-pleaser.

Brandenburg Concerto No. 3

Of the six Concertos, the Brandenburg Concerto No. 3, despite the fact it is composed for string orchestra, is the least like the traditional baroque concerto grosso, in that there is no solo or concertino group used in contrast to the full ensemble. Far predating Bartok's Concerto for Orchestra, is this concerto by Bach which challenges all the members of the ripieno to perform a concerto without designated soloists. Another distinctive feature of this concerto is that it consists of only two movements separated by a single measure of two chords.Of the six Concertos, the Brandenburg Concerto No. 3, despite the fact it is composed for string orchestra, is the least like the traditional baroque concerto grosso, in that there is no solo or concertino group used in contrast to the full ensemble. Far predating Bartok's Concerto for Orchestra, is this concerto by Bach which challenges all the members of the ripieno to perform a concerto without designated soloists. Another distinctive feature of this concerto is that it consists of only two movements separated by a single measure of two chords.

Christmas Concerto

Francesco Manfredini's Christmas Concerto (Concerto Grosso per il Santissimo Natale) was published in Bologna in 1718, nine years after Torelli's Christmas concerto and just six years after Corelli's celebrated work. As in both of these other compositions, there is a pastorale movement that uses the dotted siciliano rhythm pattern in a 12/8 time, evoking images of the shepherds and the nativity. Also similar to these two other restrained, Bolognese-styled concerti, Manfredini's composition is neither showy nor technically demanding but uses the soloist group as a dynamic and textural contrast to the full orchestral tutti. Scored for a solo grouping of three players (Concertino) andaccompaniment by the remainder of the ensemble (Ripieno), this concerto is in three movements: Pastorale, Largo, and Allegro. Francesco Manfredini's Christmas Concerto (Concerto Grosso per il Santissimo Natale) was published in Bologna in 1718, nine years after Torelli's Christmas concerto and just six years after Corelli's celebrated work. As in both of these other compositions, there is a pastorale movement that uses the dotted siciliano rhythm pattern in a 12/8 time, evoking images of the shepherds and the nativity. Also similar to these two other restrained, Bolognese-styled concerti, Manfredini's composition is neither showy nor technically demanding but uses the soloist group as a dynamic and textural contrast to the full orchestral tutti. Scored for a solo grouping of three players (Concertino) andaccompaniment by the remainder of the ensemble (Ripieno), this concerto is in three movements: Pastorale, Largo, and Allegro.

Fantasias on Eurasian Melodes

David Loeb's new collection Fantasias on Eurasian Melodies, for piccolo alone, gathers together his Balinese Fantasies, Tibetan Fantasias, and Preludes on Eurasian materials for a thorough tour through these interconnected musical languages. The Fantasias, distinct among Loeb's works, draw on native musical sources while building complex, intriguing music more akin to concert repertoire than native folk music. The Balinese Fantasies utilize several Balinese scale types, rarely combined in single native works. Here they are allowed to intermingle freely throughout the fantasies, and within the ornamentations and variations. The Tibetan Fantasias are evocations of images, tone poemsfor the solo piccolo player. Surprising complexity hides within the three works - the first a beautiful day on a highland plain, the second a moonlight night, and the third a Tibetan minstrel song painted with a particularly haunting brush. The Preludes draw from a huge variety of traditions, even occasionally crossing languages within single movements, though each movement still emphasizes a single mood. This collection contains the previous stand-alone books - catalog numbers P-04, P-09, and P-17. David Loeb's new collection Fantasias on Eurasian Melodies, for piccolo alone, gathers together his Balinese Fantasies, Tibetan Fantasias, and Preludes on Eurasian materials for a thorough tour through these interconnected musical languages. The Fantasias, distinct among Loeb's works, draw on native musical sources while building complex, intriguing music more akin to concert repertoire than native folk music. The Balinese Fantasies utilize several Balinese scale types, rarely combined in single native works. Here they are allowed to intermingle freely throughout the fantasies, and within the ornamentations and variations. The Tibetan Fantasias are evocations of images, tone poemsfor the solo piccolo player. Surprising complexity hides within the three works - the first a beautiful day on a highland plain, the second a moonlight night, and the third a Tibetan minstrel song painted with a particularly haunting brush. The Preludes draw from a huge variety of traditions, even occasionally crossing languages within single movements, though each movement still emphasizes a single mood. This collection contains the previous stand-alone books - catalog numbers P-04, P-09, and P-17.