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Fantasias on Eurasian Melodes

David Loeb's new collection Fantasias on Eurasian Melodies, for piccolo alone, gathers together his Balinese Fantasies, Tibetan Fantasias, and Preludes on Eurasian materials for a thorough tour through these interconnected musical languages. The Fantasias, distinct among Loeb's works, draw on native musical sources while building complex, intriguing music more akin to concert repertoire than native folk music. The Balinese Fantasies utilize several Balinese scale types, rarely combined in single native works. Here they are allowed to intermingle freely throughout the fantasies, and within the ornamentations and variations. The Tibetan Fantasias are evocations of images, tone poemsfor the solo piccolo player. Surprising complexity hides within the three works - the first a beautiful day on a highland plain, the second a moonlight night, and the third a Tibetan minstrel song painted with a particularly haunting brush. The Preludes draw from a huge variety of traditions, even occasionally crossing languages within single movements, though each movement still emphasizes a single mood. This collection contains the previous stand-alone books - catalog numbers P-04, P-09, and P-17. David Loeb's new collection Fantasias on Eurasian Melodies, for piccolo alone, gathers together his Balinese Fantasies, Tibetan Fantasias, and Preludes on Eurasian materials for a thorough tour through these interconnected musical languages. The Fantasias, distinct among Loeb's works, draw on native musical sources while building complex, intriguing music more akin to concert repertoire than native folk music. The Balinese Fantasies utilize several Balinese scale types, rarely combined in single native works. Here they are allowed to intermingle freely throughout the fantasies, and within the ornamentations and variations. The Tibetan Fantasias are evocations of images, tone poemsfor the solo piccolo player. Surprising complexity hides within the three works - the first a beautiful day on a highland plain, the second a moonlight night, and the third a Tibetan minstrel song painted with a particularly haunting brush. The Preludes draw from a huge variety of traditions, even occasionally crossing languages within single movements, though each movement still emphasizes a single mood. This collection contains the previous stand-alone books - catalog numbers P-04, P-09, and P-17.

Studies on East Asian Pipes

There are various traditions of performing on high pipes throughout the world. By thinking of the piccolo as the modern instrument repository for these traditions and this music, in the same sense that the piano is the modern instrument repository for all keyboard music, the piccolo’s potential repertoire is vastly enlarged. It was with this definition of the piccolo in mind that David Loeb wrote these works, though the piccoloist need not copy all of the performance techniques of the original instruments. This new collection for piccolo alone explicitly emphasizes explorations of different Asian instruments. It combines both previous Studies on East Asian Pipes (P-02, P-05),the Lyric Pieces (P-22) - works originally for the shinobue, ryuteki, and shakuhachi, and Of Dreams and Promises (P-18), a deeper look at the shinobue's abilities and sound. There are various traditions of performing on high pipes throughout the world. By thinking of the piccolo as the modern instrument repository for these traditions and this music, in the same sense that the piano is the modern instrument repository for all keyboard music, the piccolo’s potential repertoire is vastly enlarged. It was with this definition of the piccolo in mind that David Loeb wrote these works, though the piccoloist need not copy all of the performance techniques of the original instruments. This new collection for piccolo alone explicitly emphasizes explorations of different Asian instruments. It combines both previous Studies on East Asian Pipes (P-02, P-05),the Lyric Pieces (P-22) - works originally for the shinobue, ryuteki, and shakuhachi, and Of Dreams and Promises (P-18), a deeper look at the shinobue's abilities and sound.

Fantasia on Red River Valley

While the tune "Red River Valley" itself is known by several different titles and there are a number of versions of the lyrics, it is certainly one of the most beautiful American folk songs. The lyrics Kelly Via has chosen to work with in this Fantasia on Red River Valley are perhaps the most poignant, the text of each verse inspiring the musical setting. The bass and alto flutes at the beginning and end of the piece represent the heartbroken cowboy as he learns that his love is leaving, while the sound of the wind adds to his feelings of loneliness and despair. By the fourth verse, his pain and frustration gives way to a gentle remembrance of the love they once shared.While the tune "Red River Valley" itself is known by several different titles and there are a number of versions of the lyrics, it is certainly one of the most beautiful American folk songs. The lyrics Kelly Via has chosen to work with in this Fantasia on Red River Valley are perhaps the most poignant, the text of each verse inspiring the musical setting. The bass and alto flutes at the beginning and end of the piece represent the heartbroken cowboy as he learns that his love is leaving, while the sound of the wind adds to his feelings of loneliness and despair. By the fourth verse, his pain and frustration gives way to a gentle remembrance of the love they once shared.

Variations on 'La Ci Darem la Mano'

Ludwig van Beethoven's Variations on 'La ci darem la mano' from Wolfgang Amadeus Mozart's Don Giovanni was originally composed in 1795 for two oboes and English horn. Shelley Collins has made it possible to perform this delightful arrangement in a variety of combinations of flutes: Two C Flutes and Alto Flute, Two Alto Flutes (in G) and Bass Flute, or Three Similar Flutes. Ludwig van Beethoven's Variations on 'La ci darem la mano' from Wolfgang Amadeus Mozart's Don Giovanni was originally composed in 1795 for two oboes and English horn. Shelley Collins has made it possible to perform this delightful arrangement in a variety of combinations of flutes: Two C Flutes and Alto Flute, Two Alto Flutes (in G) and Bass Flute, or Three Similar Flutes.

Reflections on Sephardic Melodies

This collection of pieces by David Loeb, written for piccolo alone, derive from melodies of the Sephardic tradition, an oral tradition remarkably well preserved despite dispersion and fragmentation of the Spanish Jewish community more than five centuries ago. The melodies display a remarkably hybrid aspect, with elements of Jewish, Islamic, Central European and indigenous Spanish musical traditions present in varying extents, always blended with consummate skill and taste. Some melodies seem Medieval, with comparatively static harmonic implications, while the more chromatic and harmonically active melodies suggest a close affinity with the Renaissance. In five movements: Por quéllorax blanca niña, Morena ma llaman, Ya viene el cativo, Nani, nani, Una matica de ruda. This collection of pieces by David Loeb, written for piccolo alone, derive from melodies of the Sephardic tradition, an oral tradition remarkably well preserved despite dispersion and fragmentation of the Spanish Jewish community more than five centuries ago. The melodies display a remarkably hybrid aspect, with elements of Jewish, Islamic, Central European and indigenous Spanish musical traditions present in varying extents, always blended with consummate skill and taste. Some melodies seem Medieval, with comparatively static harmonic implications, while the more chromatic and harmonically active melodies suggest a close affinity with the Renaissance. In five movements: Por quéllorax blanca niña, Morena ma llaman, Ya viene el cativo, Nani, nani, Una matica de ruda.

Illuminations on a Christmas Plainsong

Variations on Theme by Pleyel

Czech violinist Franz Krommer (1759-1831), who composed over 300 works of his own, freely borrowed from Ignace Joseph Pleyel’s String Quartet in F Major to create this set of variations for two oboes and English horn. Shelley Collins has made it possible to perform this delightful arrangement in a variety of combinations of flutes: Two C Flutes and Alto Flute, Two Alto Flutes (in G) and Bass Flute, or Three Similar Flutes. Czech violinist Franz Krommer (1759-1831), who composed over 300 works of his own, freely borrowed from Ignace Joseph Pleyel’s String Quartet in F Major to create this set of variations for two oboes and English horn. Shelley Collins has made it possible to perform this delightful arrangement in a variety of combinations of flutes: Two C Flutes and Alto Flute, Two Alto Flutes (in G) and Bass Flute, or Three Similar Flutes.

Fantasia on a Newfoundland Folk Tune

Newfoundland, the last province to join Canada (in 1949) is a rugged and beautiful island shaped by the many inlets where tiny fishing villages are huddled. The Newfoundland ballads and shanties that were formed from Celtic traditions have developed a unique style in response to five hundred years of living in the Newfoundland outports. The beautiful tune and doleful text of She’s Like the Swallow have made this ballad a particular favourite amongst singers and arrangers/composers. Although similarities appear in the love songs of British folk music, the simile of the swallow is definitively Newfoundlander.Newfoundland, the last province to join Canada (in 1949) is a rugged and beautiful island shaped by the many inlets where tiny fishing villages are huddled. The Newfoundland ballads and shanties that were formed from Celtic traditions have developed a unique style in response to five hundred years of living in the Newfoundland outports. The beautiful tune and doleful text of She’s Like the Swallow have made this ballad a particular favourite amongst singers and arrangers/composers. Although similarities appear in the love songs of British folk music, the simile of the swallow is definitively Newfoundlander.

Fantasia on Land of the Silver Birch

Land of the Silver Birch is a well-known, well-loved traditional song sung widely around campfires across the Canadian province of Ontario. In this fantasia setting the colors of the alto and bass flutes as well as those of the two piccolos are particularly featured. Land of the Silver Birch is a well-known, well-loved traditional song sung widely around campfires across the Canadian province of Ontario. In this fantasia setting the colors of the alto and bass flutes as well as those of the two piccolos are particularly featured.

Meditation on 'Abide With Me' for Flute Choir

Rhapsody on a Theme of Paganini for Flute Quintet

A Bird's Tale on a Saturday for Flute Choir

Beckett's Whisper

Written for the Canadian Flute Association for flute choir, this work was inspired by the life of Samuel Beckett (1906 - 1989), an Irish-born playwright, who spent much of his life in France. The composer perceives a sense of longing for the homeland he left and ponders on the life impressions it has made on him, and those he has made on it. Written for the Canadian Flute Association for flute choir, this work was inspired by the life of Samuel Beckett (1906 - 1989), an Irish-born playwright, who spent much of his life in France. The composer perceives a sense of longing for the homeland he left and ponders on the life impressions it has made on him, and those he has made on it.

Fantomas

Fantomas for Piano Duet (1 Piano-4 Hands) by Eugene Magalif is based on a theme and sequence of chords which the composer and a friend sometimes played as kids: "This funny and mysterious theme was easy to play on piano, four-hands. At that time, the French movie "Fantômas" was on the cinema screens and we called this music by the name of a clever criminal – the main character of the movie." Fantomas for Piano Duet (1 Piano-4 Hands) by Eugene Magalif is based on a theme and sequence of chords which the composer and a friend sometimes played as kids: "This funny and mysterious theme was easy to play on piano, four-hands. At that time, the French movie "Fantômas" was on the cinema screens and we called this music by the name of a clever criminal – the main character of the movie."

Fantomas

Fantomas for Two (or Three) Flutes and Piano by Eugene Magalif is based on a theme and sequence of chords which the composer and a friend sometimes played as kids: "This funny and mysterious theme was easy to play on piano, four-hands. At that time, the French movie "Fantômas" was on the cinema screens and we called this music by the name of a clever criminal – the main character of the movie." This edition can be played by either two or three flutes and piano.Fantomas for Two (or Three) Flutes and Piano by Eugene Magalif is based on a theme and sequence of chords which the composer and a friend sometimes played as kids: "This funny and mysterious theme was easy to play on piano, four-hands. At that time, the French movie "Fantômas" was on the cinema screens and we called this music by the name of a clever criminal – the main character of the movie." This edition can be played by either two or three flutes and piano.

Christmas Medley: Four Carols with Variations

This Christmas Medley arrangement by Canadian composer David Taubner consists of four well-loved carols: Angels We Have Heard on High, Hark, the Herald Angels Sing, We Three Kings of Orient Are and Away in a Manger. After the presentation of each carol, a variation on that theme follows. This work was composed for the Sweet Silver Flute Choir of Winnipeg, Manitoba. This Christmas Medley arrangement by Canadian composer David Taubner consists of four well-loved carols: Angels We Have Heard on High, Hark, the Herald Angels Sing, We Three Kings of Orient Are and Away in a Manger. After the presentation of each carol, a variation on that theme follows. This work was composed for the Sweet Silver Flute Choir of Winnipeg, Manitoba.

Fanfare 36

Fanfare 36 was composed especially for the 2008 National High School Flute Choir, with its premiere performance on during the 36th Annual Convention of the National Flute Association (NFA) in Kansas City, Missouri. If Fanfare 36 conjures up images of a marching flute choir forming patterns on the field complete with twirlers, color guard and drum line, then it has achieved its goal! Fanfare 36 was composed especially for the 2008 National High School Flute Choir, with its premiere performance on during the 36th Annual Convention of the National Flute Association (NFA) in Kansas City, Missouri. If Fanfare 36 conjures up images of a marching flute choir forming patterns on the field complete with twirlers, color guard and drum line, then it has achieved its goal!

Spirit of the Wind

Spirit of the Wind by Alexandra Molnar-Suhajda, was commissioned for the 25th Annual New Jersey Flute Choir Day and was premiered there on March 31, 2019. Spirit of the Wind by Alexandra Molnar-Suhajda, was commissioned for the 25th Annual New Jersey Flute Choir Day and was premiered there on March 31, 2019.

Meditation

An original work for Alto Clarinet (in E-flat) or Basset Horn (in F) and Piano based on "The Little Prelude in C minor" by J.S. Bach. Much like Charles Gounod based his "Ave Maria" on the first prelude of the Well-Tempered Clavier, Dan Fox has created a beautiful melody which floats over the accompaniment. This work can be played with either an Alto Clarinet or a Basset Horn. An original work for Alto Clarinet (in E-flat) or Basset Horn (in F) and Piano based on "The Little Prelude in C minor" by J.S. Bach. Much like Charles Gounod based his "Ave Maria" on the first prelude of the Well-Tempered Clavier, Dan Fox has created a beautiful melody which floats over the accompaniment. This work can be played with either an Alto Clarinet or a Basset Horn.

Silva Fantasy

This fantasy on themes from Hungarian composer Imre Kalman's operetta "Die Csardasfurstin" was composed in 2018 by Eugene Magalif. It features a variety of themes from the opera, colorfully intertwining them, giving both flutes plenty of opportunities to shine. This fantasy on themes from Hungarian composer Imre Kalman's operetta "Die Csardasfurstin" was composed in 2018 by Eugene Magalif. It features a variety of themes from the opera, colorfully intertwining them, giving both flutes plenty of opportunities to shine.

Landscapes

Landscapes is a contemplative work in three movements that recognizes both the beauty and the complexity of God in nature. The movements are titled: Birds on the Beach, Sunrise Over a Hill, and Fireflies in an Open Field. Landscapes is a contemplative work in three movements that recognizes both the beauty and the complexity of God in nature. The movements are titled: Birds on the Beach, Sunrise Over a Hill, and Fireflies in an Open Field.

Sheep May Safely Groove

An innovative interpretation of the famous aria "Sheep May Safely Graze" from Johann Sebastian Bach's "Birthday Cantata", Sheep May Safely Groove by Greg Lutz is an energetic piece which allows flutists to let their hair down and rock on. An innovative interpretation of the famous aria "Sheep May Safely Graze" from Johann Sebastian Bach's "Birthday Cantata", Sheep May Safely Groove by Greg Lutz is an energetic piece which allows flutists to let their hair down and rock on.

Traverso Colore, Volume 5 : Water Music Suite No. 2

Seeking to bridge the educational divide between modern flute and baroque flute performance opportunities, Traverso Colore was founded in early 2005 as an outgrowth of the baroque flute class at Florida State University. They are a baroque flute ensemble that promotes baroque music on period instruments and creates more opportunities for flutists to perform original and arranged works from this historical era. All the arrangements in the Traverso Colore series, created by Karen McLaughlin Large and Tammara K. Phillips, can be played on baroque flutes as well as modern flutes. Volume 5 includes: Water Music: Suite No. 2, HWV 349 (George Frideric Handel)Seeking to bridge the educational divide between modern flute and baroque flute performance opportunities, Traverso Colore was founded in early 2005 as an outgrowth of the baroque flute class at Florida State University. They are a baroque flute ensemble that promotes baroque music on period instruments and creates more opportunities for flutists to perform original and arranged works from this historical era. All the arrangements in the Traverso Colore series, created by Karen McLaughlin Large and Tammara K. Phillips, can be played on baroque flutes as well as modern flutes. Volume 5 includes: Water Music: Suite No. 2, HWV 349 (George Frideric Handel)

Traverso Colore, Volume 2 : Concerto Grosso Op. 6, No. 8

Seeking to bridge the educational divide between modern flute and baroque flute performance opportunities, Traverso Colore was founded in early 2005 as an outgrowth of the baroque flute class at Florida State University. They are a baroque flute ensemble that promotes baroque music on period instruments and creates more opportunities for flutists to perform original and arranged works from this historical era. All the arrangements in the Traverso Colore series, created by Karen McLaughlin Large and Tammara K. Phillips, can be played on baroque flutes as well as modern flutes. Volume 2 includes: Concerto Grosso Op. 6, No. 8 (Arcangelo Corelli)Seeking to bridge the educational divide between modern flute and baroque flute performance opportunities, Traverso Colore was founded in early 2005 as an outgrowth of the baroque flute class at Florida State University. They are a baroque flute ensemble that promotes baroque music on period instruments and creates more opportunities for flutists to perform original and arranged works from this historical era. All the arrangements in the Traverso Colore series, created by Karen McLaughlin Large and Tammara K. Phillips, can be played on baroque flutes as well as modern flutes. Volume 2 includes: Concerto Grosso Op. 6, No. 8 (Arcangelo Corelli)

Lyrische Pastorale

Lodewijk Mortelmans was born in Antwerp on February 5, 1868, as second son of printer Karel Mortelmans. He died on June 24, 1952. He was an outstanding, universal Belgian musician and composer. His unique and poetic classical songs, his intimate and delicate piano music and his imaginative orchestral pieces rank among the European masterworks of the end of the 19th and the early 20th century. His Lyrische Pastorale, originally for horn and orchestra, has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.Lodewijk Mortelmans was born in Antwerp on February 5, 1868, as second son of printer Karel Mortelmans. He died on June 24, 1952. He was an outstanding, universal Belgian musician and composer. His unique and poetic classical songs, his intimate and delicate piano music and his imaginative orchestral pieces rank among the European masterworks of the end of the 19th and the early 20th century. His Lyrische Pastorale, originally for horn and orchestra, has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.