Alto Flute

Hans Ahlgrimm's winsome Sonata for alto flute (or violin) and piano, in three movements, is a lush and engaging work that highlights the melodic and soloistic qualities of the alto flute.

Duration: 16'10. For advanced players.

Julian Anderson’s The Colour of Pomegranates is a short nocturne for alto flute and piano, after the film of the same name by the Armenian director Paradjanov. In one part of the film a peasant sits on a cupola playing his flute to the accompaniment of church bells from below; in my piece this image is translated into the slow, lyrical melody played by the alto flute, while the piano provides the bells. The piece uses few special effects, save overblowing to produce chords of harmonics towards the close.

Score only; no separate part available. Duration: 7’30.

In Memoriam: Greg Fukashima composed by Anderson, TJ

Cello Suites: Volume 1

Bach, JS

Carla Rees presents this arrangement of the Bach Cello Suites for solo alto flute.

Arrangements of one kind or another have been at the heart of alto flute repertoire since Boehm's own arrangements of well-known works at the time of the instrument's development in the mid 1850s. For an instrument that lacks its own repertoire before the mid nineteenth century, adapting earlier works provides both useful practice material and a broader range of musical material.

This adaptation of the Cello Suites, by Carla Rees, is formed from studying various printed sources, including facsimiles of the four versions of the composer s manuscript, with slight modifications made to suit a single line instrument and the idiosyncrasies of the alto flute. Articulations are based on those found in the source material, but may be altered to suit the interpretation and requirements of the individual player, as is commonly the case with performances by different cellists. Double stopping has been represented by grace notes, which may be allowed more time or omitted altogether depending on the skill and tastes of the performer. Where two notes appear simultaneously in the score, this is to indicate a possible ossia for instruments with a B (F sharp) footjoint, and players of the standard alto flute should always follow the upper notes.

For advanced players.

Cello Suites: Volume 2

Bach, JS

Carla Rees presents this arrangement of the Bach Cello Suites for solo alto flute.

Arrangements of one kind or another have been at the heart of alto flute repertoire since Boehm's own arrangements of well-known works at the time of the instrument's development in the mid 1850s. For an instrument that lacks its own repertoire before the mid nineteenth century, adapting earlier works provides both useful practice material and a broader range of musical material.

This adaptation of the Cello Suites, by Carla Rees, is formed from studying various printed sources, including facsimiles of the four versions of the composer s manuscript, with slight modifications made to suit a single line instrument and the idiosyncrasies of the alto flute. Articulations are based on those found in the source material, but may be altered to suit the interpretation and requirements of the individual player, as is commonly the case with performances by different cellists. Double stopping has been represented by grace notes, which may be allowed more time or omitted altogether depending on the skill and tastes of the performer. Where two notes appear simultaneously in the score, this is to indicate a possible ossia for instruments with a B (F sharp) footjoint, and players of the standard alto flute should always follow the upper notes.

For advanced players.

Siciliano (Reimagined)

Bach, JS

Inspired by one of the flute repertoire's loveliest melodies, Siciliano (Reimagined) is a gently adapted 'jazz flavored' setting of the slow movement from Bach's Sonata in E-flat Major. Solo parts are provided for both C flute and for alto flute. With a fairly close rendering of the authentic flute line and more contemporary chords in the piano part, Siciliano (Reimagined) is an inviting way to play music with a modernized jazz sound, while reading traditional classical notation.

Carla Rees presents this collection of Bach Sonatas for solo alto flute.

Arrangements of one kind or another have been at the heart of alto flute repertoire since Boehm's own arrangements of well-known works at the time of the instrument's development in the mid 1850s. For an instrument that lacks its own repertoire before the mid nineteenth century, adapting earlier works provides both useful practice material and a broader range of musical material.

This adaptation of the violin Sonatas and Partitas is formed from studying various printed sources, including a facsimile of the composer s manuscript, with slight modifications made (especially in the Fugue movements) to suit a single line instrument and the idiosyncrasies of the alto flute. Articulations are based on those found in the source material, but may be altered to suit the interpretation and requirements of the individual player, as is commonly the case with violin performances. Double stopping has been represented by grace notes, which may be allowed more time or omitted altogether depending on the skill and tastes of the performer.

Although intended for the alto flute (and transposed so that when played on the alto flute the music sounds in the original key), these arrangements may also be played on other members of the flute family.

Carla Rees presents this collection of Bach Sonatas for solo alto flute.

Arrangements of one kind or another have been at the heart of alto flute repertoire since Boehm's own arrangements of well-known works at the time of the instrument's development in the mid 1850s. For an instrument that lacks its own repertoire before the mid nineteenth century, adapting earlier works provides both useful practice material and a broader range of musical material.

This adaptation of the violin Sonatas and Partitas is formed from studying various printed sources, including a facsimile of the composer s manuscript, with slight modifications made (especially in the Fugue movements) to suit a single line instrument and the idiosyncrasies of the alto flute. Articulations are based on those found in the source material, but may be altered to suit the interpretation and requirements of the individual player, as is commonly the case with violin performances. Double stopping has been represented by grace notes, which may be allowed more time or omitted altogether depending on the skill and tastes of the performer.

Although intended for the alto flute (and transposed so that when played on the alto flute the music sounds in the original key), these arrangements may also be played on other members of the flute family.

Two new arrangements for alto flute and piano that are perfect for sacred special occasion. Includes In Love My Savior Now is Dying (Aus Liebe will mein Heiland sterben) from St. Matthew's Passion by J.S. Bach, and Vocalise by Sergei Rachmaninoff.

Ariana for solo alto flute composed by Georges Barboteu. 

Duration is approximately 9 minutes. 

For advanced players.

Composed in 2015 for Lish Lindsey and Markus Kaitila for their March 8, 2015, performance on the Composer's Voice concert series in New York, Canopy references the light and colors of a canopy formed by trees, fruits hanging from the trees, birds making their home within the canopy, sun-dappled shadows on the ground below and the sky above seen through the canopy.

Garth Baxter presents Variations on The Willow Tree, for solo alto flute.

This is a set four variations on the beautiful, but little known, English folk song. The work begins and ends with a statement of the actual folk song melody - and, as The Willow Tree is a tragic song of lost love, the piece brings us through a full emotional journey.

For the intermediate player.

Based on an Armenian troubadour song, I WILL NOT BE SAD IN THIS WORLD is a uniquely beautiful work for alto flute (or bass flute) accompanied by a pre-recorded audio track made purely from the composer’s own singing. The result is a fluid interplay between the live flute and the composer’s multi-tracked and processed vocal sonorities. The work was created for Marya Martin’s Eight Visions collection (published by Presser), and is now available as a single publication.

Please note this publication includes a score only and no separate flute part.

...And the Breath Stirred...

Blank, A

Alan Blank presents this warmly lyrical piece for solo alto flute that shows off the alto's innate character.

Monologue

Blank, A

Allan Blank prseents his 2nd piece for solo alto flute, completely different that his first. The piece is in four sections. The first and fourth share characteristics of fanfares, the first announciatory, the fourth recessional. The two central sections explore totally different moods and character, the 2nd somewhat on the lighter side, the 3rd, searching.

Marilyn Bliss presents Lament, written for alto flute (or flute).

From the composer:

'The genesis of Lament, written in 1984, was a recollection of an early Martha Graham dance entitled Lamentation, in which the dancer sits on the floor and stretches her elastic jersey costume about her body with her feet and hands. I was impressed not only by the sad, isolated, wrenching mood of the dance, but also by its focus and its exploration of a single idea. Concurrent with this memory was a desire to write a new piece for solo flute, and a realization of the great beauty of sound that exists in the alto flute.'

For advanced players.

3 Lieder aus dem Schwanengesang [3 Songs from Schwanengesang]

Boehm, T

Lisa Bost-Sandberg presents As Their Own for alto flute alone.

Written for a wedding, As Their Own is a fairly flowing, melodic piece that mixes touches of contemporary melody with a sense of nostalgic romanticism.

Duration: 2'30. For the intermediate player.