Flute & Voice

The song 'Under the Greenwood Tree' - sung by Amiens in Shakespeare's 'As you like it' - was scored by Dr. Arne in the mid-1700s for soprano, flauto piccolo (sopranino recorder, 2 violins, and figured base.

This present edition condenses and refines the parts; the recorder (or flute part, the soprano or tenor voice, and the expanded basso continuo for piano or harpsichord are primary parts, with optional additional 2 violin parts and cello part if played without keyboard.

Complete Arias from the Cantatas, Masses, Oratorios Volume 1 (Soprano) BWV 36b, 82a, 100

Bach, JS

BWV 35b, 82a, 100. Includes basso part for cello or bassoon.

Complete Arias from the Cantatas, Masses, Oratorios Volume 3 (Soprano) BWV 211, 212, 245, 249

Bach, JS

BWV 211, 212, 245, 249. Includes basso part for cello or bassoon.

Sheep May Safely Graze, BWV 208

Bach, JS

Edgar Hunt presents J.S. Bach's Aria from the Birthday Cantata 'Sheep May Safely, While Their Shepherd' for soprano voice, two treble recorders (or flutes), and basso continuo (or piano).

Alain Besson presents Trois Pomes de Pierre Reverdy, for soprano and alto flute.

Limpid poetry, apparent simplicity and contained expressivity in combinations of words, images and sounds in a free and discontinuous form, the language of Pierre Reverdy already conceals deeply musical material.

Descente plays on superimposed speeds and times, in the manner of a medieval motet with free polyphony (voice, motetus: flute, duplum): syllabic diction of the text; each line suggests an emotion/image translated into colour/harmony.

Les mots qu on echange This piece is conceived around three characters evoked in the poem, and in particular in the central stanza: En partant nous etions trois/Mon ombre et moi/Et toi derriere . The voice is written in parlando style, comme un recitant. Everything rests on the monodic writing of the flute: evolution, in the background of a colour halo , on spectral scales, between inharmonic and harmonic, in relation to the the lightness/darkness of the landscapes of the poem.

Un seul moment In contrast with Descente, Un seul moment presents particularly melismatic vocal writing. Each word receives a specific treatment and the music seeks to create remote sound connections, in relation to the phonetic structure of the poem. The flute, in turn, accompanies the vocal games by enveloping it in harmonies, or indeed by developing independently as an illustration and decoration. Here, too, are the superimposed speeds and times.

Duration: 20 . For advanced players.

Wind Songs by Marilyn Bliss

Wind Songs, for Native American flute (or C flutes) and soprano, is composed of two parts.

Phantom Breeze, the first part for solo flute, portrays a struggle for dominance between the conventional pentatonic scale pitch-group of the Native American flute and non-native 'interloper' tones, shaping a drama of tonal beauty.

The second part, It Was the Wind, is a setting of an evocative Navajo (Dine) creation-story text for soprano and flute. Before singing the poem's text, the soprano murmurs vocables that warm and shape the G opening pitch as if she is molding clay with her breath. The breath of the soprano and the breath of the flutist, forming melodic lines and ornamental filigree, combine into the great Wind, life-giver and shaper of the world of the Native American Southwest.

The flute part can easily be played on concert flute, and either part may be played separately.