Flute & Clarinet
Abigana, B :: Four Dances
Adolphus, M :: Tribrach Op. 101Tribrach Op. 101
Milton Adolphus' Tribrach Op. 101 for flute, Bb clarinet, and piano, is a small quasi-waltz with playful melodies and flirtatious back-and-forth between instruments. A central interlude in 4/4 breaks up the waltz before a return to the original ideas.
For intermediate players. Includes three scores.
Amlin, M :: Trio Sonatina
Trio Sonatina for flute, clarinet and piano
Arnold, M :: Grand FantasiaGrand Fantasia
Bach, JS :: 15 Inventions
Flute and Clarinet Duet - These short movements make great stylistic exercises in baroque music. Not an easy play and requiring some stamina. Rhythmically complex and working through some extreme keys, these are a rewarding challenge for advanced players.
Bach, JS :: A Treasury of Bach Duets
A Treasury of Bach Duets
Bach, JS :: Jesu, Joy of Man's DesiringJesu, Joy of Man's Desiring
Jesu, Joy of Man's Desiring for Flute, Clarinet and Piano
Barr, S :: EvocationEvocation
For Flute and Clarinet, 'The music of this 'evocation' does not attempt to do either in any concrete fashion, yet if while listening to it you are moved to daydream a bit, indulge in some flights of fancy, or commune with the infinite, no one will mind and we might consider the piece successful in its intent.'
Barry, G :: Aeneas and DidoAeneas and Dido
Gerald Barry's Aeneas and Dido, for flute, clarinet in Bb, and piano.
This short piece in three sections includes several of Barry's hallmarks - fierce ostinato passages and contrasting strongly accented instrumental sections. Take note of the composer's instruction: 'Hammer all notes with great gusto!'
Duration: 2'. For intermediate players and above.
Bermel, D :: Twin TrioTwin Trio
Twin Trio for Flute, Clarinet and Piano
Bernofsky, L :: Blue Monkey
Blue Monkey is a short, jaunty duo, perfect for concert or recital programming. The main riff in swing eighths is repeated throughout, ensuring that it sticks in the mind of the audience. For intermediate to advanced. Score form.
Bizet, G :: Jeux d'Enfants [Children's Games]
Jeux d'Enfants [Children's Games]
International Music Company presents George Bizet's 'Jeux d'Enfants', op. 22 arranged for flute, clarinet, and piano by Michael Webster.
Notes from the editor: 'The discovery of Bizet's Symphony in C major, written at the age of seventeen, confirmed that Bizet was one of the great musical prodigies. We ten to forget that he lived only one year longer than the greatest of all musical prodigies, Mozart, dying of a heart attack at the age of 36. Thus his Jeux d'enfants (Children's Games), written in 1871 at the age of 33, is a mature work, composed two years after his marriage and a year before the birth of his only child. Unlike his operas, his works for piano two-hands are of questionable quality, but Jeux d'enfants, his only work for piano four-hands, is a masterpiece of small forms - at once simple and sophisticated, poignant and playful. Bizet himself orchestrated five of the pieces (The Top; The Doll; Trumpet and Drum; Little Husband; Little Wife; The Ball), but the others remain relatively unknown. The twelve movements are repleate with surprisingly original compositional touches, including the explicit casting, spinning, and slowing of 'The Top'; the 'Soap Bubbles' landing on non-chordal tones nearly every beat; the two-note 'chasing' theme of 'Puss in the Corner' developing into an elegant fugato; and 'Little Husband, Little Wife' erupting into a very adult burst of passion.
For the most part, Bizet's original notes fall idiomatically within reach of the flute, clarinet, and piano trio. Only the impressionistic 'Swing' and the rowdy 'Ball' contain significant editorial changes to suit the new instrumentation. Otherwise, Bizet's dynamic and articulation indications have been carefully retained, with very few exceptions. The metronome marks are from the original edition; for trio, faster tempos may be appropriate for 'The Top', 'The Merry-Go-Round', 'The Shuttlecock', and 'Blindman's Buff'.'
- Michael Webster
Brahms, J :: Hungarian Dance Suite No. 1
Hungarian Dance Suite No. 1
In 1889, when Johannes Brahms was 56 years old, a representative of American inventor Thomas Edison visited him in Vienna and invited him to make an experimental recording. Brahms played an abbreviated version of his first Hungarian dance on the piano. The recording was later issued on an LP of early piano performances. While the spoken introduction to the short piece of music is quite clear, the piano playing is largely inaudible due to heavy surface noise. Nevertheless, this remains the earliest recording made by a major composer.
Bridgewater, T :: Double ConcertoDouble Concerto
Tony Bridgewater s Double Concerto for flute, Clarinet in A or Bb, and piano is a large concert work. 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.
Brooks, R :: Circular MotionsCircular Motions
Richard Brooks presents Circular Motions for flute, Bb clarinet, and piano.
From the composer:
Maelstrom [the first movement] is a response to a suggestion from Esther Lamneck. We were caught in a blizzard at the Rochester airport in December 2003. She asked me if I d ever written anything for this particular combination. I decided to write this surprise for her.
Maelstrom is defined by Webster as a strong often violent whirlpool. I m not sure why I picked this title as it doesn t necessarily reflect the musical content. It may be that I was still remembering the blizzard conditions in Rochester. Musically, the work plays around with an interestingly symmetrical tone row and a small portion of the Fibonacci series.
After the first performance I was persuaded that it was really the first movement in a larger work. So I added two more movements.
In The Eye Of The Storm is focused around a short Fibonacci series: 1 2 3 5 and its reverse. Since the combined total of the series adds to eleven I use the meter 11/8 for large sections.
Whirlwind is pretty self-explanatory. Hopefully, it provides an exhilarating finale.
Duration: 10 minutes. For advanced players. Includes score and parts.
Burkhard, W :: SerenadeSerenade
Will Burkhard presents the Serenade for Flute and Clarinet, Op. 92.
The Serenade was composed in 1953 and is dedicated to Burkhard s daughter, Ursula. She and her husband, Hans-Rudolf Stadler, played the flute and clarinet, respectively. This work contains five contrasting movements. Rhythm plays an especially important role here, as Burkhard s choices give each movement a distinct character.
Four of the Serenade s five movements are written in a melody and accompaniment texture. However, the assigned accompaniments are quite complex and do not simply disappear into the background. Through rhythm and interval content, these accompaniments contribute greatly to the expressiveness of each particular movement, as they combine with the melody. The single polyphonic movement is unusual as well, as Burkhard rarely has the two melodies sounding simultaneously.
Although there is most often a melody and accompaniment texture, harmony does not play an important role in the Serenade. Since the accompaniments are rather melodic themselves, the harmonies that are created linearly are more audible than those created vertically. Burkhard does highlight triads on occasion, exploring a colorful assortment of harmonies.
Offbeat entrances are integral to the opening three movements of the Serenade. Ties and syncopation can also be found. There are implied tempo changes through the use of increasingly faster or slower rhythms. There are even implied meter changes through the use of hemiola. Two movements feature rhythmic ostinato accompaniments, and one features a rhythmic motive in the accompaniment that is passed back and forth between the flute and clarinet. Burkhard uses a wide variety of rhythms in both the melodies and accompaniments of the Serenade, giving each movement its own distinct character.
- Kimberly Lynn Speiran; The Flute Music of Willy Burkhard (2011)
Buss, HJ :: Night FlightNight Flight
This riveting work showcases the piccolo and clarinet, exploring their different registers and colors. It provides exciting contrasts between lyrical and technical sections. Night Flight was commissioned for the 1999 National Flute Association Convention in Atlanta.
This colorful and engaging composition is programmatic in that it is a musical depiction (in general terms) of an eventful flight of a jetliner. Mm. 1 through 38 represent the leisurely taxi of the aircraft as it moves into position on the runway. During mm. 39 - 50 the heavy plane builds momentum as it powers down the runway. The lyrical and lilting section from measures 51 through 137 suggests a smooth flight through the moonlit, starry sky. The final portion of the composition is characterized by drama and excitement as the airliner descends through heavy clouds and engages a ferocious thunderstorm. The turbulent music gains in intensity as the plane approaches the runway and concludes with an exhilarating tough down on the final beat of the work. This final section (mm. 138 - end) is strongly influenced by jazz.
Buss, HJ :: Time CapsuleTime Capsule
Howard Buss presents Time Capsule for flute and clarinet duet.
The first movement, Daybreak, has a frolicking, optimistic character. Chorale breaks with the traditional structure of the chorale in that each phrase gets a measure longer. The harmonies of the second movement contain some spicy dissonance as well. Rendezvous is in a lilting 6/8 and works up a lather as it progresses to an exciting climax. Homeward Bound, begins with a fanfare-like passage that gives way to a spirited dance characterized by an intriguing interplay between the instruments.
Cafolla, R :: Cantilena
A holiday in Switzerland and a late night pedallo on the lake. The velvet sky bedecked in jewels of starlight and a melody is born. The water is alive with shifting lights along with the steep forested cliffs. The beauty is overwhelming. Marked Moderato con amore and in common time, Cantilena's flowing melody is deceptively simple but with magical flourishes. Each player plays a pivotal role in the overall effect as they blend in close harmonies. Originally written for Flute, Clarinet in A and Piano, a Bb clarinet part has been included for players who don't possess an instrument in A.
Callahan, C :: Rhapsody on English HymntunesRhapsody on English Hymntunes
This Rhapsody is transcribed by the composer from Callahan's original organ duet and is based on the following English tunes: Capel, Down Ampney, Kingsfold, Kings Weston, and Monks Gate. Scored for Flute or Violin, Clarinet in B-flat, and Organ, with opt. handbells.
Villa-Lobos, H :: Choros No. 2
Shostakovich, D :: Vier Walzer [Four Waltzes]
Dorff, D :: Two Cats
Ewazen, E :: Wildflowers
Dorff, D :: Perennials