Flute & Band or Orch

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 string orchestra or 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.

Apart from the title of the work, all editorial additions are indicated as such: letters by italics, slurs by broken lines, and other signs by smaller or narrower engraving. All alphabetical markings taken from the source (f, p, etc.) therefore appear in normal type. Accidentals have been placed in accordance with modern rules. Further accidentals supplied by the editor, Heinrich Besseler, at his discretion (i. e. those not rendered necessary by the application of modern rules) appear in small print.

Like most of the Brandenburg Concertos dedicated to Margrave Christian, Bach wrote the Fifth Brandenburg during his years at Cothen. With some degree of certainty we also know the occasion for which he wroteit. In March 1719 a two-manual harpsichord arrived in Cothen from Michael Mietke in Berlin, who doubtless built it in accordance with Bach s special instructions. To all appearances, Bach wrote the Fifth Brandenburg to display this newly-acquired instrument to his musically-minded patron.

Of the Brandenburg Concertos, the Fifth merits special attention in that the keyboard instrument is assigned a prominent place among the three soloists: flute, violin and harpsichord. Bach s special treatment of the harpsichord is especially evident in the great solo cadenza of the first movement. With this work Bach produced the first keyboard concerto in music history. An extant early version of this work, BWV 1050a, allows us to conclude that Bach reworked the concerto shortly after its composition but before he copied out the dedicatory manuscript. This early version may even have originated prior to the arrival of the new harpsichord (but no earlier than the end of 1717). Its principal feature is the much shorter harpsichord cadenza in the first movement, which amounts to only eighteen bars instead of the 65 of the final version. The third movement, too, was originally four bars shorter, with bars 178 180 serving in lieu of bars 178 184 of the later version.

This edition presents both the dedicatory version of BWV 1050 and the early version (the Fruhfassung BWV 1050a), thereby allowing the reader to compare them in detail. This is especially useful in the case of the two cadenzas: it transpires that the early eighteen-bar cadenza (mm. 154 171 of BWV 1050a, movt. 1) is entirely non-thematic, while the bars 154 196 interpolated into the dedicatory version rework thematic material from earlier solo episodes. Obviously, few performers today will wish to dispense with the expansive cadenza of the final version. Nevertheless, we might cautiously raise the question of whether the early cadenza is, perhaps, more in keeping with movement s overall proportions.

A delightful tone poem originally composed as a solo with orchestra accompaniment, and dedicated to Susan Hicks Brashier. It is quite different from most of Barnes' music, which is powerful and energetic.

The piece begins with a melancholy flute solo and a one-line melody on a horn in the background. The clarinet and bassoon then have a turn with the melody. A flute cadenza catches one's notice as the swirling chill of Autumn. the colors of sounds indicate the changing colors of leaves. There is a last burst of brilliance and excitement before the flute once again sings in a plaintive cadenza. Recalling the initial theme before retreating, the accompaniment introduce a pyramid of sound to bring the piece to a quiet ending.

Here, Barnes presents the piece in its version for flute (or oboe or clarinet) and wind band. Also purchasable in versions for flute and piano, or on hire from the publisher in a version for flute and orchestra.

Duration: 7:00. Includes score and parts.

Boosey & Hawkes presents Henry Barraud's Concerto in score format for flute and orchestra. Concerto pour flute et orchestre a cordes was first performed at Braunschweig, Germany, by Hans-Jurgen Mohring, flute, with the Braunschweig Staatstheater Chamber Orchestra under Heinz Zeebe on November 22, 2963. Duration is 17 minutes.

Luigi Boccherini's Concerto for Flute and Orchestra in D major, op. 27, is here presented with a full score and complete parts for the accompanying string orchestra.

Included: Score; 2 first violin; 2 second violin; 2 viola; 3 violoncello/double bass.

Schott's edition of Joseph Bodin de Boismortier's 'Concerto in G major op. 21, No. 3' contains the score only with the solo parts available separately. This concerto is classified as intermediate to advanced for the flutist and was composed in 1728.

This arrangement was written for Lynne Stukart and the Geneseo High School Concert Band. The famous Habanera from Carmen has been extracted from the ever-popular Carmen Fantasy and crafted into a solo piece with concert band, perfect as an encore! The work opens with a fanfare and cadenza, followed by a statement of the Habanera, followed by the second variation from original. Suitable for bands of all ages, this arrangement features a colorful, yet light accompaniment to this flute solo.

Instrumentation: Solo Flute, Flute 1/2, Oboe, Bassoon, Clarinet 1/2/3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet 1/2, Horn 1/2, Trombone 1/2, Euphonium (BC and TC), Tuba, Timpani, Castanets/Snare Drum, Triangle

Tony Bridgewater presents the Double Concerto for flute, clarinet, and string orchestra. Included here are parts and full score.

The lively first movement is based on two ideas; the opening rhythmic motif, played first by the flute and then echoed by the clarinet, and a contrasting lyrical melody, also introduced by each soloist in turn. The slow movement was inspired by the beautiful mountain scenery of Austria, and is a series of variations based on a 10 bar chord pattern. The variations become more serious and complex, but eventually the music returns to the tranquillity of the opening, and fades away into the distance. The final movement is a lively, dance-like rondo, with several contrasting episodes; the concluding coda includes brief references to the earlier movements before a final reprise of the rondo theme brings the piece to an exuberant conclusion.

Howard J. Buss presents Vibrant Horizons for flute and wind ensemble. Complete set (score & parts).

While not referring to any one individual in particular, this work is suggestive of a person s journey from one reality to another in its three movements.

New Beginnings (5'15'') has an optimistic character, and the spirited thrust of the music projects movement in a hopeful and positive direction. The contemplative second movement, Old Thoughts (5'45''), juxtaposes beautiful, atmospheric sections with brooding passages, as if to suggest a tension between desirable elements of the past with those that prompted the individual to seek new horizons. The final movement, Circles (6'30''), addresses the fact that once one is settled into a new situation, routines develop. When viewed over time these routines often resemble circular patterns.

A new edition of one of the flute repertoire's most beloved double flute concertos. Judy Nishimura has masterfully recreated the score and parts from the original manuscript and has also included the addition of her own cadenzas. Full score and parts are included in this set.

A delightful polka from the 'Golden Age' era which features the piccolo in all its glory. This arrangement by Louis W. Lewis will delight any audience and is a great way to introduce the smallest member of the flute family to the audience.

Instrumentation: Solo D-flat (or C) Piccolo or Solo Cornet (Baritone), C Flute 1/2, Oboe 1/2, Bassoon, E-Flat Clarinet, Clarinet 1, Clarinet 2/3, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Cornet 1, Cornet 2, Cornet 3/4, Horns 1/2, Horns 3/4, Trombone 1/2, Trombone 3/Bass Trombone, Baritone (T.C. and B.C.), Basses (Tuba), Percussion (Snare Drum, Bass Drum, Triangle)

A standard in advanced flute repertoire, this brilliant showpiece is widely performed in contest and recital settings. Now, with this meticulously prepared accompaniment for winds, you can feature any stellar flute soloist on concert band programs for a stunningly effective concert feature.

Includes scores and parts. Instrumentation:

1 Solo Flute
8 Flute
2 Oboe
2 Bassoon
1 Clarinet Solo
3 Clarinet 1
3 Clarinet 2
3 Clarinet 3
1 Alto Clarinet
2 Bass Clarinets
2 Alto Saxophone 1
2 Alto Saxophone 2
2 Tenor Saxophone
1 Baritone Saxophone
8 Trumpet
4 F Horn
4 Trombone 1,2
2 Trombone 3
5 Tuba
1 String Bass
3 Percussion: Timpani, Triangle, Bells
1 Harp

This is indeed the famous Andante and Rondo, Op. 25, with chamber wind accompaniment instead of piano. An excellent and very playable transcription dedicated to Katherine Borst Jones (Ohio State University).

Instrumentation: 2 Solo Flutes, 2 Oboes, 2 Clarinets (B-flat or A, both parts included), Bass Clarinet, 2 Bassoons, 2 Horns in F, Contrabass

The familiar flute duet, arranged for 2 Flutes and Strings (Violin 1 and 2, Viola, Cello, and String Bass) or String Orchestra.

An arrangement for solo flute and concert band of the classic Fantasie by Gabriel Faure.

Instrumentation: Solo Flute, Flute 1/2, Oboe 1/2, Clarinet 1, Clarinet 2, Clarinet 3, Bass Clarinet, Bassoon 1/2, Trumpet 1, Trumpet 2, Horn 1, Horn 2, Trombone, Baritone (BC and TC), Tuba, Xylophone, Timpani

David Froom presents Petali Di Gelsomino for flute and string orchestra, here in score form. Parts available on request.

From the composer:

Petali di Gelsomino ( Jasmine Flower Petals ) was commissioned for Fudan University s 100th anniversary, a date that coincided with the 25th anniversary of Fudan s affiliation with St. Mary s College of Maryland (where I have taught since 1989). The concert at Fudan (in Shanghai) featured the Italian flutist Giuseppe Nova with string group from the US, Italy, and China. To honor the three country involvement, I chose to center my work on the Chinese folk song Jasmine Flower. In its simplest, pared down form, this song is the prominent unifying theme in Puccini s opera Turandot. That version of the folk song sits alongside a fuller, more elaborate melody widely known in China, though both versions are heard there.

To begin my composition, I broke the melody into motivic fragments (as if picking petals from this Jasmine flower), using these to create a variety of textures for strings and flute. To end the work (after the flute cadenza), I reassembled the petals into the full flower: the Puccini version is heard in string harmonics, followed by the full version of the melody in the flute, played over a shimmering string accompaniment.