Orchestral Music & Parts

Flotensoli aus dem geistlichen und weltlichen Vokalwerk [Flute Solos from the Sacred and Secular Vocal Works] - Volume 1

Bach, JS

These volumes presents for the first time all the arias from the oratorios, Passions, Masses and sacred and secular cantatas of JS Bach that contain the complete obbligato parts for one or two flutes (depending on the instrumentation of the original work). Also included are the complete solo vocal parts with lyrics for reference. The musical text has been adopted from the Urtext of the New Bach Edition.

These volumes presents for the first time all the arias from the oratorios, Passions, Masses and sacred and secular cantatas of JS Bach that contain the complete obbligato parts for one or two flutes (depending on the instrumentation of the original work). Also included are the complete solo vocal parts with lyrics for reference. The musical text has been adopted from the Urtext of the New Bach Edition.

Magnificat

Bach, JS

Flute 2 part to the Magnificat in D BWV 243.

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.

Please note that this edition of Robert Beaser's 'Song of the Bells' is the flute solo part only, with the piano reduction and set of orchestral parts sold separately.

'Song of the Bells' is in the shape of an asymmetrical arch, beginning in a haze of disorganized percussion sounds, slowly gathering speed, and eventually reaching a peak of motoric energy and brilliance (the tempo marking in the score is Avanti!), then quickly dying away to a nearly inaudible tintinnabulation. Besides the literal bell sounds emanating from the percussion section (which includes glockenspiel, vibraphone, xylophone, crotales, chimes, marimba, Mexican bean, and assorted drums, cymbals, and gongs), allusions to bells in the opening bars include horn phrases that recall the Westminster chimes ('Big Ben') and regular harp strokes, like a chiming clock. Soon after its dramatic entrance, the solo flute plays a languido melody, which the first violins then take up, accompanied by improvised chirping and twittering from the soloist. After a return of the chime theme in ghostly string harmonics, dance rhythms begin to drive the music to its climax, first in gay triplet eighth notes, then in blindingly fast sixteenths. When the peak is reached, the horns sing out the Westminster chime theme above the swirl of activity; violins and the soloist then take it up as well, but tenderly, as the music fades to a tinkling in the distance.'

- David Wright

Leonore Overture #3

Beethoven, L

First Flute Part