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The Moonbright Sea

The Moonbright Sea by Alexandra Molnar-Suhajda, was commissioned by Nancy Mulholland for the Flute Society of Washington Junior Flute Choir and was premiered at the 2019 Mid-Atlantic Flute Convention in Reston, Virginia. Composed in two sections, the opening is pastoral and flowing, leading to a joyous and lilting section in 6/8 time. The Moonbright Sea by Alexandra Molnar-Suhajda, was commissioned by Nancy Mulholland for the Flute Society of Washington Junior Flute Choir and was premiered at the 2019 Mid-Atlantic Flute Convention in Reston, Virginia. Composed in two sections, the opening is pastoral and flowing, leading to a joyous and lilting section in 6/8 time.

March to the Scaffold from Symphony Fantastique

The March to the Scaffold is the fourth movement of Hector Berlioz's "Symphonie Fantastique," a programmatic work consisting of five movements. This movement depicts the central artist character poisoning himself and dreaming that as a result of killed his beloved, he is being led to the scaffold and witnessing his own execution. The timpani parts (which are not optional), give a true sense of the march feeling. The two timpani parts are identical to the original orchestral version, however, a condensed part for one player is included.The March to the Scaffold is the fourth movement of Hector Berlioz's "Symphonie Fantastique," a programmatic work consisting of five movements. This movement depicts the central artist character poisoning himself and dreaming that as a result of killed his beloved, he is being led to the scaffold and witnessing his own execution. The timpani parts (which are not optional), give a true sense of the march feeling. The two timpani parts are identical to the original orchestral version, however, a condensed part for one player is included.

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 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.

Notes to Self for Harp

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.

Bach to the Fluture for Flute Choir

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.

Sakura Sakura Variations

Cherry blossoms falling one by one on a timeless day in Japan. All of a sudden, the wind blows the petals off of the branches and into the air. All you can see is light pink falling all around you. The blossoming of the flowers symbolize a time of renewal, but the sea of flowers don’t last long. The Japanese feel that the magic of Cherry blossoms lie in their short, but breathtakingly beautiful life. The Sakura Sakura Variations for Flute Choir by Kazuko Stratmann is a versatile work which can be performed with a large flute ensemble, as well as a smaller chamber group with one player on each part. It is full of different colors and effects, enabling players the opportunity toimitate the sounds of two types of Japanese flutes, the Shinobue and the Shakuhachi. Cherry blossoms falling one by one on a timeless day in Japan. All of a sudden, the wind blows the petals off of the branches and into the air. All you can see is light pink falling all around you. The blossoming of the flowers symbolize a time of renewal, but the sea of flowers don’t last long. The Japanese feel that the magic of Cherry blossoms lie in their short, but breathtakingly beautiful life. The Sakura Sakura Variations for Flute Choir by Kazuko Stratmann is a versatile work which can be performed with a large flute ensemble, as well as a smaller chamber group with one player on each part. It is full of different colors and effects, enabling players the opportunity toimitate the sounds of two types of Japanese flutes, the Shinobue and the Shakuhachi.

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 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.

For Love of Swans

For Love of Swans by Catherine McMichael was commissioned by the National Flute Association to honor the Memory of Phil Swanson, founding treasuror and co-chair of the program committee for the first NFA convention in 1973. The premiere took place on August 2, 2019 at the Salt Palace in Salt Lake City, and brought many of those whose lives and careers he touched and shaped together to play this piece as a tribute to his life. For Love of Swans by Catherine McMichael was commissioned by the National Flute Association to honor the Memory of Phil Swanson, founding treasuror and co-chair of the program committee for the first NFA convention in 1973. The premiere took place on August 2, 2019 at the Salt Palace in Salt Lake City, and brought many of those whose lives and careers he touched and shaped together to play this piece as a tribute to his life.

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.

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.

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.

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.

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."

Honduras Sonata

The Honduras Sonata for flute and guitar was composed during a visit to Honduras by the composer. The sonata is in three movements: Pico Bonita, Copan Ruins, and Lovely Cotinga. The first movement was inspired by the jungle lodge (of the same name) where she visited. The Copan Ruins, in the far west of Honduras, are the remnants of the Copan civilization and give visitors a chance to climb and explore the vast complex of ancient structures. Lastly, the third movement is named after the shy and elusive cotinga bird, which the composer was fortunate to have gazed upon during her time there.The Honduras Sonata for flute and guitar was composed during a visit to Honduras by the composer. The sonata is in three movements: Pico Bonita, Copan Ruins, and Lovely Cotinga. The first movement was inspired by the jungle lodge (of the same name) where she visited. The Copan Ruins, in the far west of Honduras, are the remnants of the Copan civilization and give visitors a chance to climb and explore the vast complex of ancient structures. Lastly, the third movement is named after the shy and elusive cotinga bird, which the composer was fortunate to have gazed upon during her time there.

Nuraghi Warriors Dance

Anže Rozman's Nuraghi Warriors Dance (Ples Bojevnikov Nuraghi) paints an image of ancient violence and drama - a frenzied ritual of war. Rozman extends the reach of the flute trio by using a piccolo, C flute, and alto flute to deepen and heighten driving rhythms and violent outbursts. Complex changing time signatures allow the rhythmic drive of the piece to flex and elongate, with mad hints of Stravinsky appearing and disappearing. Anže Rozman's Nuraghi Warriors Dance (Ples Bojevnikov Nuraghi) paints an image of ancient violence and drama - a frenzied ritual of war. Rozman extends the reach of the flute trio by using a piccolo, C flute, and alto flute to deepen and heighten driving rhythms and violent outbursts. Complex changing time signatures allow the rhythmic drive of the piece to flex and elongate, with mad hints of Stravinsky appearing and disappearing.

Variations on Theme by Pleyel

Czech violinist Franz Krommer (1759-1831), who composed over 300 works of his own, freely borrowed from Ignace Joseph Pleyel’s String Quartet in F Major to create this set of variations for two oboes and English horn. Shelley Collins has made it possible to perform this delightful arrangement in a variety of combinations of flutes: Two C Flutes and Alto Flute, Two Alto Flutes (in G) and Bass Flute, or Three Similar Flutes. Czech violinist Franz Krommer (1759-1831), who composed over 300 works of his own, freely borrowed from Ignace Joseph Pleyel’s String Quartet in F Major to create this set of variations for two oboes and English horn. Shelley Collins has made it possible to perform this delightful arrangement in a variety of combinations of flutes: Two C Flutes and Alto Flute, Two Alto Flutes (in G) and Bass Flute, or Three Similar Flutes.

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.

Fantasia on Red River Valley

While the tune "Red River Valley" itself is known by several different titles and there are a number of versions of the lyrics, it is certainly one of the most beautiful American folk songs. The lyrics Kelly Via has chosen to work with in this Fantasia on Red River Valley are perhaps the most poignant, the text of each verse inspiring the musical setting. The bass and alto flutes at the beginning and end of the piece represent the heartbroken cowboy as he learns that his love is leaving, while the sound of the wind adds to his feelings of loneliness and despair. By the fourth verse, his pain and frustration gives way to a gentle remembrance of the love they once shared.While the tune "Red River Valley" itself is known by several different titles and there are a number of versions of the lyrics, it is certainly one of the most beautiful American folk songs. The lyrics Kelly Via has chosen to work with in this Fantasia on Red River Valley are perhaps the most poignant, the text of each verse inspiring the musical setting. The bass and alto flutes at the beginning and end of the piece represent the heartbroken cowboy as he learns that his love is leaving, while the sound of the wind adds to his feelings of loneliness and despair. By the fourth verse, his pain and frustration gives way to a gentle remembrance of the love they once shared.

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.

Golliwogg's Cakewalk

In 1908, fourteen years after composing the Prélude à l'Après-midi d'un faune, Claude Debussy completed the piano suite, Children’s Corner, which was dedicated to his daughter “Chouchou.” The sixth and final movement, Golliwogg’s Cakewalk, is a delightfully clever miniature that demonstrates Debussy’s recognition of two major trends in late nineteenth century music: the innovative ragtime rhythms of American culture, and a "tribute" to Richard Wagner by including a quotation from the famous opera, Tristan and Isolde.In 1908, fourteen years after composing the Prélude à l'Après-midi d'un faune, Claude Debussy completed the piano suite, Children’s Corner, which was dedicated to his daughter “Chouchou.” The sixth and final movement, Golliwogg’s Cakewalk, is a delightfully clever miniature that demonstrates Debussy’s recognition of two major trends in late nineteenth century music: the innovative ragtime rhythms of American culture, and a "tribute" to Richard Wagner by including a quotation from the famous opera, Tristan and Isolde.

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.