Flute & Piano (K-L)

Mauricio Kagel presents the iconic Phantasiestück for flute (doubling alto flute and piccolo) and piano.

"Kagel’s approach to flute writing is to use all of the colours available - all you can possibly imagine. I mentioned the word Fantasy above. Kagel had a Schumann obsession and Schumann wrote a Fantasy Op. 73 and another Op. 88 and there is the Piano Fantasie Op. 17. In Kagel’s Phantasiestück a true dialogue is opened up between the two sound-worlds. The flute uses quarter-tones and what Richard Whitehouse brilliantly describes as ‘virtual breathing’. There is another passage in which the player sings down the flute in unison with what is played by the keys. The pianist also taps, early on in the piece, on the woodwork. All of these otherworldly sounds help to create a ‘fantasy’ ecosphere unique and like no other." - Gary Higginson, Musicweb International

"Phantasiestück is playful, filled with a sort of good humor, harmonically rather primal sometimes, yet quite modern sounding, almost neo-classical in the Stravinskian sense, and thoroughly enjoyable." - Grego Applegate Edwards, Classical-Modern Music Review

Duration: 19'20. For advanced players.

Dark Angel by Gay Kahkonen for Flute and Piano.

Elisa Kahn-Ellis presents her 3 Short Character Pieces for flute and piano. This delightful work takes the listener through an agitato 'chase', a more ponderous period of 'captivity' and finally a romping expression of joy in 'freedom.'

Nikolai Kapustin's Sonata for flute and piano, op 125, was composed in 2004 at the request of Immanuel Davis, flute professor at the University of Minnesota. The work is in four movements, and both flautist and pianist are occupied, jointly and individually, in performing a piece that requires a considerable level of technique as well as a thorough grasp of Kapustin's jazz idioms.

Exotic Impressions

Karg-Elert, S

Karg-Elert's set of five miniatures, opus 134, represents great compositional variety from French impressionism to German expressionism. The 'exotic' titles of Asian gods give the performer strong clues in creating a colorful performance. Note: Since so many indications in 'Exotic Impressions' are in German, translations have been provided for clarification.

Movements: Idylle champetre (Rustic idyll), Danse Pittoresque (Picturesque Dance), Colibri (Hummingbird), Lotus, Evocation a Brahma.

Zimmermann presents Impressions Exotiques [Exotic Impressions] op. 134 by Sigfrid Karg-Elert. 

Karg-Elert's late-Romantic and impressionistic style is apparent in this five-movement suite for flute and piano, with an inner movement for piccolo and piano. Each brief movement depicts a certain image or character and incorporates nontraditional scales. The third movement, Colibri, is one of the earliest twentieth-century works specified for piccolo and is often performed on piccolo recitals. Movement titles are Idylle champetre, Danse pittoresque, Colibri, Lotus, and Evocation a Brahma. 

For advanced players.

Sinfonische Kanzone [Symphonic Canzona, Op. 114]

Karg-Elert, S

Sonate B-Dur op. 121 [Sonata in B flat major op. 121]

Karg-Elert, S

Suite Pointillistique op. 135

Karg-Elert, S

Suite Pointillistique

Dick Kattenburg's Sonate voor fluit en piano, opus 15, is a full-blown Romantic work in three movements. The first movement, Maestoso, opens with large piano chords and a quasi-contemporary flute melody exploring above that then develops into a running back-and-forth motif. The second Lento movement is almost Poulenc-like in its floating ideas and misterioso, and the third movement concludes with an energetic Fughetta and aggressive finale.

For advanced players.

Aulos

Kay, U

Commissioned by flutist John Solum and written in 1967, Aulos was premiered in 1971 by the Indiana University Chamber Orchestra, with John Solum acting as the soloist and Wolfgang Vaccano conducting. The work derives its name from the eponymous ancient Greek instrument, which was double-reeded and contained a two-piece pipe and finger holes. One piece contained a bag that allowed for a continuous sound, making it more akin to bagpipes than to the modern-day flute, while the other piece acted independently of the first. In Kay’s work, the texture of the supporting instruments act as the supporting, yet highly reactive drone, while the flute acts as the melodic piece. Originally scored for solo flute, 2 horns, percussion, and strings, the piano reduction of this acclaimed, haunting work has been made available for the first time through this new edition.

Aulos

Kay, U

Commissioned by flutist John Solum and written in 1967, Aulos was premiered in 1971 by the Indiana University Chamber Orchestra, with John Solum acting as the soloist and Wolfgang Vaccano conducting. The work derives its name from the eponymous ancient Greek instrument, which was double-reeded and contained a two-piece pipe and finger holes. One piece contained a bag that allowed for a continuous sound, making it more akin to bagpipes than to the modern-day flute, while the other piece acted independently of the first. In Kay’s work, the texture of the supporting instruments act as the supporting, yet highly reactive drone, while the flute acts as the melodic piece. Originally scored for solo flute, 2 horns, percussion, and strings, the piano reduction of this acclaimed, haunting work has been made available for the first time through this new edition.

Siciliano

Keenan, G

Gerald Keenan presents Siciliano for flute and piano, dedicated to New Jersey Symphony flutist, Frank Scelba.

Talivaldis Kenins was well-known as one of the premier Canadian art music composers during his lifetime, with his music melding the new Canadian sense of taste with older European and Latvian idioms.

Kenins' Concertante for flute and piano was written for Robert Aitken, and reflects the solid grasp of contemporary writing and full, neo-romantic sound that Aitken brings to his more accessible music. Three movements form the foundation of the Concertante, with the large three-section first movement as the core of the work.