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Cantilena and Rigadoon

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.

SEK 198.00
1

Divertimento No. 2

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."

SEK 348.00
1

Meditation

Meditation

An original work for Alto Clarinet (in E-flat) or Basset Horn (in F) and Piano based on "The Little Prelude in C minor" by J.S. Bach. Much like Charles Gounod based his "Ave Maria" on the first prelude of the Well-Tempered Clavier, Dan Fox has created a beautiful melody which floats over the accompaniment. This work can be played with either an Alto Clarinet or a Basset Horn. An original work for Alto Clarinet (in E-flat) or Basset Horn (in F) and Piano based on "The Little Prelude in C minor" by J.S. Bach. Much like Charles Gounod based his "Ave Maria" on the first prelude of the Well-Tempered Clavier, Dan Fox has created a beautiful melody which floats over the accompaniment. This work can be played with either an Alto Clarinet or a Basset Horn.

SEK 198.00
1

Elegia

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.

SEK 198.00
1

Le Papillon

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.

SEK 248.00
1

Perpetual Motion

Perpetual Motion

A rollicking tune from Johann Strauss, Jr., sure to get stuck in your head. This piece is performed by the Vienna Philharmonic every New Year's Eve. The arrangement includes many piccolo and flute excerpts from the original work! It can be performed with just a flute quartet, or an entire flute choir, accompanied by string orchestra and percussion. A rollicking tune from Johann Strauss, Jr., sure to get stuck in your head. This piece is performed by the Vienna Philharmonic every New Year's Eve. The arrangement includes many piccolo and flute excerpts from the original work! It can be performed with just a flute quartet, or an entire flute choir, accompanied by string orchestra and percussion.

SEK 548.00
1

Lo, How a Rose E'er Blooming

Lo, How a Rose E'er Blooming

The Eleven Chorale Preludes were the last works composed by Johannes Brahms. They were composed in the summer of 1896 after the death of his dear friend, Clara Schumann. The beauty of this particular chorale prelude, Lo How a Rose E'er Blooming, is not lost on audiences, as it is the best known of the eleven. From a compositional view the work has been described in program notes by Scott Foglesong as “richly chromatic, and improvisatory” and “while floridly elaborate never masked the dignified simplicity of the original melody.“ The flute choir adaptation of this work is expanded from the choral prelude format. The choral prelude as composed by Brahms is stated twice. Between thefirst and second stanzas of the chorale is the original setting of the carol. The Eleven Chorale Preludes were the last works composed by Johannes Brahms. They were composed in the summer of 1896 after the death of his dear friend, Clara Schumann. The beauty of this particular chorale prelude, Lo How a Rose E'er Blooming, is not lost on audiences, as it is the best known of the eleven. From a compositional view the work has been described in program notes by Scott Foglesong as “richly chromatic, and improvisatory” and “while floridly elaborate never masked the dignified simplicity of the original melody.“ The flute choir adaptation of this work is expanded from the choral prelude format. The choral prelude as composed by Brahms is stated twice. Between thefirst and second stanzas of the chorale is the original setting of the carol.

SEK 248.00
1

Water Music

Water Music

Water Music was composed by George Frederick Handel (1658-1759) and while no copies of this work in the composer's hand are extant, various catalogs and copies from that time show 9 to 20 movements in several suites. Previously available as two separate volumes, this new edition, re-engraved in 2019 combines the two movements together into a single book. Water Music was composed by George Frederick Handel (1658-1759) and while no copies of this work in the composer's hand are extant, various catalogs and copies from that time show 9 to 20 movements in several suites. Previously available as two separate volumes, this new edition, re-engraved in 2019 combines the two movements together into a single book.

SEK 338.00
1

Christmas Medley: Four Carols with Variations

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.

SEK 268.00
1

Beckett's Whisper

Beckett's Whisper

Written for the Canadian Flute Association for flute choir, this work was inspired by the life of Samuel Beckett (1906 - 1989), an Irish-born playwright, who spent much of his life in France. The composer perceives a sense of longing for the homeland he left and ponders on the life impressions it has made on him, and those he has made on it. Written for the Canadian Flute Association for flute choir, this work was inspired by the life of Samuel Beckett (1906 - 1989), an Irish-born playwright, who spent much of his life in France. The composer perceives a sense of longing for the homeland he left and ponders on the life impressions it has made on him, and those he has made on it.

SEK 288.00
1

Scherzino

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.

SEK 398.00
1

Scherzino

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.

SEK 248.00
1

Concerto

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.

SEK 348.00
1

Concerto

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.

SEK 248.00
1

Adagio and Allegro, Op. 70

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.

SEK 218.00
1

March to the Scaffold from Symphony Fantastique

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.

SEK 348.00
1

Waking of the Green Spring

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.

SEK 248.00
1

Apres un Reve

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 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.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 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.

SEK 198.00
1

Sonata in F Minor

Sonata in F Minor

Georg Philipp Telemann (1681-1767), is one of the most prolific composers of all time. He wrote a great amount of music for wind instruments, including many concerti and sonatas for flute, oboe and bassoon. The Sonata in F Major for bassoon and basso continuo, composed in four movements (Triste, Allegro, Andante, Vivace), was originally included in the collection Der getreue Musikmeister, dating back to 1728. 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.Georg Philipp Telemann (1681-1767), is one of the most prolific composers of all time. He wrote a great amount of music for wind instruments, including many concerti and sonatas for flute, oboe and bassoon. The Sonata in F Major for bassoon and basso continuo, composed in four movements (Triste, Allegro, Andante, Vivace), was originally included in the collection Der getreue Musikmeister, dating back to 1728. 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.

SEK 218.00
1

Lyrische Pastorale

Lyrische Pastorale

Lodewijk Mortelmans was born in Antwerp on February 5, 1868, as second son of printer Karel Mortelmans. He died on June 24, 1952. He was an outstanding, universal Belgian musician and composer. His unique and poetic classical songs, his intimate and delicate piano music and his imaginative orchestral pieces rank among the European masterworks of the end of the 19th and the early 20th century. His Lyrische Pastorale, originally for horn and orchestra, 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.Lodewijk Mortelmans was born in Antwerp on February 5, 1868, as second son of printer Karel Mortelmans. He died on June 24, 1952. He was an outstanding, universal Belgian musician and composer. His unique and poetic classical songs, his intimate and delicate piano music and his imaginative orchestral pieces rank among the European masterworks of the end of the 19th and the early 20th century. His Lyrische Pastorale, originally for horn and orchestra, 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.

SEK 218.00
1

Romanian Folk Dances

Romanian Folk Dances

The Romanian Folk Dances were originally completed in 1915 as a set of six movements for the pianoforte: Joc Cu Bata, Braul, Pe Loc, Buciumeana, Poarga Romaneasca, Maruntel. Probably the most famous version of the work is the setting for violin and piano created by Zoltan Szekely (the violinist for whom Bartok composed his Second Violin Rhapsody) which deviated in a few instances from the original piano version. It is highly likely that Bartok approved of these changes, for he adopted these when, in 1917, he created his own orchestral version. It is upon Bartok's orchestral version that this transcription for flute choir is based.The Romanian Folk Dances were originally completed in 1915 as a set of six movements for the pianoforte: Joc Cu Bata, Braul, Pe Loc, Buciumeana, Poarga Romaneasca, Maruntel. Probably the most famous version of the work is the setting for violin and piano created by Zoltan Szekely (the violinist for whom Bartok composed his Second Violin Rhapsody) which deviated in a few instances from the original piano version. It is highly likely that Bartok approved of these changes, for he adopted these when, in 1917, he created his own orchestral version. It is upon Bartok's orchestral version that this transcription for flute choir is based.

SEK 268.00
1