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Salsita

Salsita

Salsita is an energetic and vibrant Venezuelan composition for flute choir by Victor Rojas, the director of the fabulous National Flute Orchestra of Venezuela. Composed in 1997 for performance at the National Flute Association Convention, the rhythmic ostinatos give energy and momentum, and a few special effects add to the Latin American feel. Salsita is an energetic and vibrant Venezuelan composition for flute choir by Victor Rojas, the director of the fabulous National Flute Orchestra of Venezuela. Composed in 1997 for performance at the National Flute Association Convention, the rhythmic ostinatos give energy and momentum, and a few special effects add to the Latin American feel.

SEK 258.00
1

Cross the Wide Missouri

Cross the Wide Missouri

Cross the Wide Missouri includes the setting of the folk song 'Shenandoah' by Kelly Via. This piece is a tribute to the Missouri River which flows through Kansas City, site of the 36th Annual Convention of the National Flute Association in 2008. It was commissioned by the West Michigan Flute Association for the performance in a flute choir showcase at this convention. Cross the Wide Missouri includes the setting of the folk song 'Shenandoah' by Kelly Via. This piece is a tribute to the Missouri River which flows through Kansas City, site of the 36th Annual Convention of the National Flute Association in 2008. It was commissioned by the West Michigan Flute Association for the performance in a flute choir showcase at this convention.

SEK 288.00
1

Fanfare 36

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!

SEK 248.00
1

Traverso Colore, Volume 5 : Water Music Suite No. 2

Traverso Colore, Volume 5 : Water Music Suite No. 2

Seeking to bridge the educational divide between modern flute and baroque flute performance opportunities, Traverso Colore was founded in early 2005 as an outgrowth of the baroque flute class at Florida State University. They are a baroque flute ensemble that promotes baroque music on period instruments and creates more opportunities for flutists to perform original and arranged works from this historical era. All the arrangements in the Traverso Colore series, created by Karen McLaughlin Large and Tammara K. Phillips, can be played on baroque flutes as well as modern flutes. Volume 5 includes: Water Music: Suite No. 2, HWV 349 (George Frideric Handel)Seeking to bridge the educational divide between modern flute and baroque flute performance opportunities, Traverso Colore was founded in early 2005 as an outgrowth of the baroque flute class at Florida State University. They are a baroque flute ensemble that promotes baroque music on period instruments and creates more opportunities for flutists to perform original and arranged works from this historical era. All the arrangements in the Traverso Colore series, created by Karen McLaughlin Large and Tammara K. Phillips, can be played on baroque flutes as well as modern flutes. Volume 5 includes: Water Music: Suite No. 2, HWV 349 (George Frideric Handel)

SEK 248.00
1

Traverso Colore, Volume 4 : Music for the Royal Fireworks

Traverso Colore, Volume 4 : Music for the Royal Fireworks

Seeking to bridge the educational divide between modern flute and baroque flute performance opportunities, Traverso Colore was founded in early 2005 as an outgrowth of the baroque flute class at Florida State University. They are a baroque flute ensemble that promotes baroque music on period instruments and creates more opportunities for flutists to perform original and arranged works from this historical era. All the arrangements in the Traverso Colore series, created by Karen McLaughlin Large and Tammara K. Phillips, can be played on baroque flutes as well as modern flutes. Volume 4 includes: Music for the Royal Fireworks, HWV 351 (George Frideric Handel)Seeking to bridge the educational divide between modern flute and baroque flute performance opportunities, Traverso Colore was founded in early 2005 as an outgrowth of the baroque flute class at Florida State University. They are a baroque flute ensemble that promotes baroque music on period instruments and creates more opportunities for flutists to perform original and arranged works from this historical era. All the arrangements in the Traverso Colore series, created by Karen McLaughlin Large and Tammara K. Phillips, can be played on baroque flutes as well as modern flutes. Volume 4 includes: Music for the Royal Fireworks, HWV 351 (George Frideric Handel)

SEK 268.00
1

Traverso Colore, Volume 2 : Concerto Grosso Op. 6, No. 8

Traverso Colore, Volume 2 : Concerto Grosso Op. 6, No. 8

Seeking to bridge the educational divide between modern flute and baroque flute performance opportunities, Traverso Colore was founded in early 2005 as an outgrowth of the baroque flute class at Florida State University. They are a baroque flute ensemble that promotes baroque music on period instruments and creates more opportunities for flutists to perform original and arranged works from this historical era. All the arrangements in the Traverso Colore series, created by Karen McLaughlin Large and Tammara K. Phillips, can be played on baroque flutes as well as modern flutes. Volume 2 includes: Concerto Grosso Op. 6, No. 8 (Arcangelo Corelli)Seeking to bridge the educational divide between modern flute and baroque flute performance opportunities, Traverso Colore was founded in early 2005 as an outgrowth of the baroque flute class at Florida State University. They are a baroque flute ensemble that promotes baroque music on period instruments and creates more opportunities for flutists to perform original and arranged works from this historical era. All the arrangements in the Traverso Colore series, created by Karen McLaughlin Large and Tammara K. Phillips, can be played on baroque flutes as well as modern flutes. Volume 2 includes: Concerto Grosso Op. 6, No. 8 (Arcangelo Corelli)

SEK 328.00
1

Traverso Colore, Volume 3 : Baroque Quartets

Traverso Colore, Volume 3 : Baroque Quartets

Seeking to bridge the educational divide between modern flute and baroque flute performance opportunities, Traverso Colore was founded in early 2005 as an outgrowth of the baroque flute class at Florida State University. They are a baroque flute ensemble that promotes baroque music on period instruments and creates more opportunities for flutists to perform original and arranged works from this historical era. All the arrangements in the Traverso Colore series, created by Karen McLaughlin Large and Tammara K. Phillips, can be played on baroque flutes as well as modern flutes. Volume 3 includes: 'Ombra mai fu' from Xerxes (George Frideric Handel), Three Madrigals (Orlando diLasso), and Ricercare in the Twelfth Mode (Andrea Gabrieli). Seeking to bridge the educational divide between modern flute and baroque flute performance opportunities, Traverso Colore was founded in early 2005 as an outgrowth of the baroque flute class at Florida State University. They are a baroque flute ensemble that promotes baroque music on period instruments and creates more opportunities for flutists to perform original and arranged works from this historical era. All the arrangements in the Traverso Colore series, created by Karen McLaughlin Large and Tammara K. Phillips, can be played on baroque flutes as well as modern flutes. Volume 3 includes: 'Ombra mai fu' from Xerxes (George Frideric Handel), Three Madrigals (Orlando diLasso), and Ricercare in the Twelfth Mode (Andrea Gabrieli).

SEK 248.00
1

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

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.

SEK 198.00
1

Traverso Colore, Volume 1 : Baroque Quintets

Traverso Colore, Volume 1 : Baroque Quintets

Seeking to bridge the educational divide between modern flute and baroque flute performance opportunities, Traverso Colore was founded in early 2005 as an outgrowth of the baroque flute class at Florida State University. They are a baroque flute ensemble that promotes baroque music on period instruments and creates more opportunities for flutists to perform original and arranged works from this historical era. All the arrangements in the Traverso Colore series, created by Karen McLaughlin Large and Tammara K. Phillips, can be played on baroque flutes as well as modern flutes. Volume 1 includes: Arrival of the Queen of Sheba (George Frideric Handel), Banchetto Musicale: Suite No.1 (Johann Hermann Schein), Sinfonia 'Non sa che sia dolore' (Johann Sebastian Bach), and Court Music, from the Childhood of Louis XIII (Francois Danican Philidor). Seeking to bridge the educational divide between modern flute and baroque flute performance opportunities, Traverso Colore was founded in early 2005 as an outgrowth of the baroque flute class at Florida State University. They are a baroque flute ensemble that promotes baroque music on period instruments and creates more opportunities for flutists to perform original and arranged works from this historical era. All the arrangements in the Traverso Colore series, created by Karen McLaughlin Large and Tammara K. Phillips, can be played on baroque flutes as well as modern flutes. Volume 1 includes: Arrival of the Queen of Sheba (George Frideric Handel), Banchetto Musicale: Suite No.1 (Johann Hermann Schein), Sinfonia 'Non sa che sia dolore' (Johann Sebastian Bach), and Court Music, from the Childhood of Louis XIII (Francois Danican Philidor).

SEK 348.00
1

Studies on East Asian Pipes

Studies on East Asian Pipes

There are various traditions of performing on high pipes throughout the world. By thinking of the piccolo as the modern instrument repository for these traditions and this music, in the same sense that the piano is the modern instrument repository for all keyboard music, the piccolo’s potential repertoire is vastly enlarged. It was with this definition of the piccolo in mind that David Loeb wrote these works, though the piccoloist need not copy all of the performance techniques of the original instruments. This new collection for piccolo alone explicitly emphasizes explorations of different Asian instruments. It combines both previous Studies on East Asian Pipes (P-02, P-05),the Lyric Pieces (P-22) - works originally for the shinobue, ryuteki, and shakuhachi, and Of Dreams and Promises (P-18), a deeper look at the shinobue's abilities and sound. There are various traditions of performing on high pipes throughout the world. By thinking of the piccolo as the modern instrument repository for these traditions and this music, in the same sense that the piano is the modern instrument repository for all keyboard music, the piccolo’s potential repertoire is vastly enlarged. It was with this definition of the piccolo in mind that David Loeb wrote these works, though the piccoloist need not copy all of the performance techniques of the original instruments. This new collection for piccolo alone explicitly emphasizes explorations of different Asian instruments. It combines both previous Studies on East Asian Pipes (P-02, P-05),the Lyric Pieces (P-22) - works originally for the shinobue, ryuteki, and shakuhachi, and Of Dreams and Promises (P-18), a deeper look at the shinobue's abilities and sound.

SEK 248.00
1

Aus Liebe will mein Heiland sterben

Aus Liebe will mein Heiland sterben

Johann Sebastian Bach (1685 – 1750) composed St. Matthew’s Passion, BWV 244, in the 1720s and it is believed that the first performance took place on April 11, 1727 at the St. Thomas Church in Leipzig. The music arranged here for Flute and Piano is the heart-wrenching aria, “Aus Liebe will mein Heiland sterben,” extracted from the middle of the second part of the work. To set the scene, the aria comes after Jesus has been presented to the multitudes in a fast a furious, rowdy double orchestra and choir exclamation, and is condemned to death by crucifixion. Out of this outcry, the solitary flautist and soprano singer reflect on the question of sin, judgement and punishment. In thismost hauntingly vulnerable aria, Bach manages to find both beauty and fragility to reflect upon this question. Johann Sebastian Bach (1685 – 1750) composed St. Matthew’s Passion, BWV 244, in the 1720s and it is believed that the first performance took place on April 11, 1727 at the St. Thomas Church in Leipzig. The music arranged here for Flute and Piano is the heart-wrenching aria, “Aus Liebe will mein Heiland sterben,” extracted from the middle of the second part of the work. To set the scene, the aria comes after Jesus has been presented to the multitudes in a fast a furious, rowdy double orchestra and choir exclamation, and is condemned to death by crucifixion. Out of this outcry, the solitary flautist and soprano singer reflect on the question of sin, judgement and punishment. In thismost hauntingly vulnerable aria, Bach manages to find both beauty and fragility to reflect upon this question.

SEK 218.00
1

Aus Liebe will mein Heiland sterben

Aus Liebe will mein Heiland sterben

Johann Sebastian Bach (1685 – 1750) composed St. Matthew’s Passion, BWV 244, in the 1720s and it is believed that the first performance took place on April 11, 1727 at the St. Thomas Church in Leipzig. The music arranged here for Flute Quartet is the heart-wrenching aria, “Aus Liebe will mein Heiland sterben,” extracted from the middle of the second part of the work. To set the scene, the aria comes after Jesus has been presented to the multitudes in a fast a furious, rowdy double orchestra and choir exclamation, and is condemned to death by crucifixion. Out of this outcry, the solitary flautist and soprano singer reflect on the question of sin, judgement and punishment. In thismost hauntingly vulnerable aria, Bach manages to find both beauty and fragility to reflect upon this question. Using the parts provided, this arrangement can be performed as either a quartet with 3 C Flutes and Alto Flute, or as a quartet with 3 Alto Flutes and Bass Flute. For the latter, the Alto Flutes are to play the original C Flute parts, and the Bass Flute plays the supplemental part provided. Johann Sebastian Bach (1685 – 1750) composed St. Matthew’s Passion, BWV 244, in the 1720s and it is believed that the first performance took place on April 11, 1727 at the St. Thomas Church in Leipzig. The music arranged here for Flute Quartet is the heart-wrenching aria, “Aus Liebe will mein Heiland sterben,” extracted from the middle of the second part of the work. To set the scene, the aria comes after Jesus has been presented to the multitudes in a fast a furious, rowdy double orchestra and choir exclamation, and is condemned to death by crucifixion. Out of this outcry, the solitary flautist and soprano singer reflect on the question of sin, judgement and punishment. In thismost hauntingly vulnerable aria, Bach manages to find both beauty and fragility to reflect upon this question. Using the parts provided, this arrangement can be performed as either a quartet with 3 C Flutes and Alto Flute, or as a quartet with 3 Alto Flutes and Bass Flute. For the latter, the Alto Flutes are to play the original C Flute parts, and the Bass Flute plays the supplemental part provided.

SEK 248.00
1