National Flute Association 2023

Partita a-Moll [Partita in A minor] BWV 1013

Bach, JS

The Partita was virtually unknown until 1917 when the manuscript (call number: Mus. Ms. Bach P 968) was acquired by the then Royal Library in Berlin from the heirs of the former Thomaskantor and avid Bach collector Wilhelm Rust (1822-1892). For this reason, the Partita for Flute, BWV 1013 was not included in the pioneering Gesamtausgabe der Bachgesellschaft finished in 1900. It seems possible that Wilhelm Rust intentionally withheld the piece from publication despite the fact that he had generously supported the Bachgesellschaft edition in its early stages.

Today the Partita is well known, though it is worth remembering that this piece is one of the latest additions to the canon of Bach's works. Barenreiter Urtext presents this detailed edition with full historical attention to detail.

Sonata in E flat Major BWV 1031/H. 545

Bach, JS

Urtext edition. Edited and with a commentary by Barthold Kuijken. Continuo realization by Siebe Henstra.

Sonatina

Bennett, RR

Universal Wind Series presents Sonatina for solo flute by Richard Rodney Bennett.

Sonate [Sonata]

Bonis, M

Sonate [Sonata] in C sharp minor

A native of Fitzgerald, Georgia, Eldin Burton studied piano and composition at the Atlanta Conservatory and Juilliard School of Music. Sonatina for flute and piano is Burton’s best-known work and is adapted from a work for solo piano written for a composition class at Julliard. Burton dedicated his composition to a fellow Julliard student, the noted flutist Samuel Baron, who debuted the performance in 1947 in New York City. Sonatina won the composition contest of the New York Flute Club in 1948 and as a first prize Burton was awarded a publishing contract for his composition with G. Schirmer Inc. Burton went on to work for G Schirmer Inc. and later retired in Sarasota, Florida.

Sonatina for flute and piano is a three-movement work with a conservative, yet unique approach to melody, harmony and rhythm. The first Allegretto grazioso movement dances gracefully with its agile tempo and song-like melody, lyrically toying with scales and arpeggios against a rich harmonic structure. Andantino Sognando, with its playful and quirky passages, is at some moments bold and at others, inquisitive; a sublime contrast to the lively and humorous triple-metered third movement, Allegro giocoso quasi fandango, that begins with lightly spirited burst of energy and races off in interesting and animated directions.

- CD Notes, Susan Hoeppner's American Flute Masterpieces

Scrivo in Vento

Carter, E

Elliott Carter's Scrivo In Vento, for flute alone, dedicated to Robert Aitken, takes its title from a poem of Petrarch who lived in and around Avignon from 1326 to 1353. It uses the flute to present contrasting musical ideas and registers to suggest the paradoxical nature of the poem./p>

Barcarola et Scherzo

Casella, A

Salabert presents Barcarola et Scherzo for flute and piano by composer Alfredo Casella.

Valerie Coleman presents Fanmi Imen [Human Family]: Poem for flute and piano.

The title of Coleman's one poem is Haitian Creole for Maya Angelou's famous work, Human Family. Both the musical and literary poems acknowledge differences within mankind, either due to ethnicity, background, or geography, but Angelou's poetic refrain: 'we are more alike, my friends, than we are unlike,' reaffirms our humanity as a reminder of unity.

Within the flute and piano parts are motifs representing cultural differences that come together to form a tapestry, united through tempi and quasi cadenza-like transitions. The work begins and ends with a patriotic American feel, to symbolize and recognize the contributions immigrants have made towards the building of a nation as a whole.

The work includes harmonies and thematic material that represent French flute music blending with an underlying pentatonicism found in Asian traditions, a caravan through Middle Eastern parts of the world that merge with Flamenco music within the Quasi-Cadenza, and an upbeat journey southward into Africa with the sounds of Kalimba (thumb piano). Here, the flute imitates the thumb piano as it playfully taps out a tune that spells out a morse code message of U-N-I-T-Y within the rhythm. The many twists and turns come together to create a sound that symbolizes a beautifully diverse human race.

For advanced players.

VColeman Music presents Legends for flute and piano by composer Valerie Coleman.

For intermediate flutists, Legends is a colorful and light piece in four movements: Lin-Fa – The Lotus Lily, Dagda’s Harp, Gaia, El Encierro. Perfect for student recitals and family concerts.

Variations on a Swedish Folktune

Dahl, I

Gerard Billaudot Editeur presents 'La tourterelle, op. 119' for piccolo and piano by composer Eugene Damare and editor Jean-Louis Beaumadier.

This IXth Suite in G major from de la Barre's 'Deuxieme livre de pieces pour la Flute Traversiere' carries the addition 'Sonate l'inconnue'. In actual fact it contains no real dance movement; the Chaconne should not be considered one in this context. The term 'Sonate', borrowed from the Italian, clearly points to the virtuosic, typically flutistic passages, especially in the Chaconne.

The realization of the Continuo has purposely been kept simple; individual creativity is recommended here. Every realization, however 'perfect', fixes something that in actual fact calls for precisely the contrary, namely a flexible accompaniment that takes into account both the instrumental and the acoustic circumstances.

Fantasy, Op. 79

Faure, G

International Music Company presents Gabriel Faure's 'Fantasy, op. 79' for flute and piano, edited by Karl Kraber.

Gabriel Faure's Fantasy, Opus 79, was composed as one of the great competition pieces for the Paris Conservatory and has remained a staple of the repertoire since. For flute and piano.

Suite

Francaix, J

Suite for solo flute by Jean Francaix was composed in 1962 and is classified as difficult for the advanced flutist.

'The suite as a musical form has been with us since Bach's time. Originally a series of dances, Francaix fills the old barrel of this form with some very new wine, indeed. The first example of this is his title of the first movement; traditionally an Allemand, Francaix gives us, instead, a Caprice, with all the imagination, whimsy and humor that that word implies. This movement is marked by an antic, tongue-in-cheek sense, as, indeed, is much of the piece. The Pavan is a dance of Italian origin, popular in the 16th and 17th centuries. It was in simple duple time, and of stately character. The Saltarello was a lively dance from Spain and Italy. It can have various meters (6/8, 3/4, 3/8 , 6/4), and incorporated jumps. The Allemande is probably of German origin. It is usually serious in character and in his Suite, Francaix follows suit, scoring the movement for alto flute. The Minuet is a dance in triple meter, though I defy anyone to hear that in the opening section of this movement. It is very apparent in the second, Trio, section. Francaix closes the piece with a lively march, marked by offbeat accents.

- John Ranck, 2002

Morocco

Giovannini, C

Morocco: A Nocturne for flute (or Alto Flute) and piano.

Adolphus Hailstork presents Flute Set for flute alone. In four movements - Moderato con anima, Vivo, Lento e teneramente, and Allegro - and in contrasting styles.

Duration: 5'.

Presser Publications presents Adolphus Hailstork's 'Yuhwa (The Goddess of the Willow Trees)' for solo flute.

In Korean mythology, Yuhwa was the daughter of a River God, tricked into marrying the Sun God. She escaped back to her homeland and gave birth to a son who became the founder and monarch of Korea’s northern kingdom. The symbolic willow tree is considered a source of healing in Korean folklore and elsewhere around the world.

Hailstork’s 6-minute depiction is a luscious mix of innocent (and catchy) melody, blended with fascinating drama and texture to create a concert work that both stands on its own as pure music and depicts the legend of the goddess Yuhwa.

Two for Two

Hoover, K

Katherine Hoover presents Two for Two, with the first movement for alto flute and piano, the second for bass flute and piano.

From the composer:

'When Chris Potter asked me to write a piece including both alto flute and bass flute, I tried to hone in on some of the special but perhaps less commonly heard qualities of each. The alto has its lovely singing quality, but it also has the capacity to move quickly and easily, so I decided to feature that as well. The bass, I felt, could should off that wonderful husky quality in a slightly off-center tango.'

Piece

Ibert, J

Composed in 1936 by Jacques Ibert (1890-1962), a neoclassical composer who won the Prix de Rome in 1919, Piece for Solo Flute was premiered by Marcel Moyse. This publication was written in three movements in two contrasting themes. The first theme is a slow lyrical melody compared to the second one which is much faster. The third movement of Piece for Solo Flute brings back the first theme again but with more ornamentation this time.

Jacques Ibert (1890-1962) also composed many symphonic suites, operas and seven orchestras, including Angelique (1926) and Divertissement (1930). He also was in charge of the Academie de France in the Villa Médicis (Roma) and was later administrator for the Paris Opera.

Gerard Billaudot Editeur presents 'Introduction et Rondo, op. 98a sur le colporteur de G. Onslow' for flute and piano by composer Friedrich Kuhlau and editors Jean-Pierre Rampal and Philippe Bernold.