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Reflexiones Espanolas

Reflexiones Espanolas is a three movement suite of works from the Spanish Renaissance, arranged for solo flute, solo guitar, strings and percussion by P. Brent Register. The pieces included are: Pavane by Luys Milan (c. 1500-c.1561), O vos omnes by Tomas Luis de Victoria (c. 1548-1611), and Diferencias sobre "Guardame las Vacas" by Luys de Narvaez (c. 1500-1555). Reflexiones Espanolas is a three movement suite of works from the Spanish Renaissance, arranged for solo flute, solo guitar, strings and percussion by P. Brent Register. The pieces included are: Pavane by Luys Milan (c. 1500-c.1561), O vos omnes by Tomas Luis de Victoria (c. 1548-1611), and Diferencias sobre "Guardame las Vacas" by Luys de Narvaez (c. 1500-1555).

Concerto in C Major

Ten Pocket-Sized Trios

Ten Pocket-Sized Trios is a collection of vignettes arranged for flute, guitar, and cello by Jan Boland (with guitar adaptations by John Dowdall). For two of the titles, there is an alto flute transposition of the C flute part. Additionally, for the entire collection, the cello part can be considered optional. Ten Pocket-Sized Trios is a collection of vignettes arranged for flute, guitar, and cello by Jan Boland (with guitar adaptations by John Dowdall). For two of the titles, there is an alto flute transposition of the C flute part. Additionally, for the entire collection, the cello part can be considered optional.

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.

Nuraghi Warriors Dance

Anže Rozman's Nuraghi Warriors Dance (Ples Bojevnikov Nuraghi) paints an image of ancient violence and drama - a frenzied ritual of war. Rozman extends the reach of the flute trio by using a piccolo, C flute, and alto flute to deepen and heighten driving rhythms and violent outbursts. Complex changing time signatures allow the rhythmic drive of the piece to flex and elongate, with mad hints of Stravinsky appearing and disappearing. Anže Rozman's Nuraghi Warriors Dance (Ples Bojevnikov Nuraghi) paints an image of ancient violence and drama - a frenzied ritual of war. Rozman extends the reach of the flute trio by using a piccolo, C flute, and alto flute to deepen and heighten driving rhythms and violent outbursts. Complex changing time signatures allow the rhythmic drive of the piece to flex and elongate, with mad hints of Stravinsky appearing and disappearing.

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.

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.

Aus Liebe will mein Heiland sterben

Johann Sebastian Bach (1685 – 1750) composed St. Matthew’s Passion, BWV 244, in the 1720s and it is believed that the first performance took place on April 11, 1727 at the St. Thomas Church in Leipzig. The music arranged here for Flute Quartet is the heart-wrenching aria, “Aus Liebe will mein Heiland sterben,” extracted from the middle of the second part of the work. To set the scene, the aria comes after Jesus has been presented to the multitudes in a fast a furious, rowdy double orchestra and choir exclamation, and is condemned to death by crucifixion. Out of this outcry, the solitary flautist and soprano singer reflect on the question of sin, judgement and punishment. In thismost hauntingly vulnerable aria, Bach manages to find both beauty and fragility to reflect upon this question. Using the parts provided, this arrangement can be performed as either a quartet with 3 C Flutes and Alto Flute, or as a quartet with 3 Alto Flutes and Bass Flute. For the latter, the Alto Flutes are to play the original C Flute parts, and the Bass Flute plays the supplemental part provided. Johann Sebastian Bach (1685 – 1750) composed St. Matthew’s Passion, BWV 244, in the 1720s and it is believed that the first performance took place on April 11, 1727 at the St. Thomas Church in Leipzig. The music arranged here for Flute Quartet is the heart-wrenching aria, “Aus Liebe will mein Heiland sterben,” extracted from the middle of the second part of the work. To set the scene, the aria comes after Jesus has been presented to the multitudes in a fast a furious, rowdy double orchestra and choir exclamation, and is condemned to death by crucifixion. Out of this outcry, the solitary flautist and soprano singer reflect on the question of sin, judgement and punishment. In thismost hauntingly vulnerable aria, Bach manages to find both beauty and fragility to reflect upon this question. Using the parts provided, this arrangement can be performed as either a quartet with 3 C Flutes and Alto Flute, or as a quartet with 3 Alto Flutes and Bass Flute. For the latter, the Alto Flutes are to play the original C Flute parts, and the Bass Flute plays the supplemental part provided.

Concerto in E Minor

Antonio Vivaldi (c. 1678—1741) remains one of the most-loved and oft-performed of the baroque composers. In 1703, he was appointed to the position of music master at the Ospedale della Pieta in Venice, a home for orphaned girls. It was for this famous orchestra of young girls that he produced his more than 400 concertos, of which over 200 are for the violin. This Concerto in E Minor is one of only three concertos that Vivaldi wrote for four violins, all of which were contained in his Opus 3 L’estro armónico, his first work published in Amsterdam, affording him not only improved printing of his music, but also greater distribution of his music throughout eighteenth century Europe.It is in four movements: Andante, Allegro assai, Adagio, and Allegro. Antonio Vivaldi (c. 1678—1741) remains one of the most-loved and oft-performed of the baroque composers. In 1703, he was appointed to the position of music master at the Ospedale della Pieta in Venice, a home for orphaned girls. It was for this famous orchestra of young girls that he produced his more than 400 concertos, of which over 200 are for the violin. This Concerto in E Minor is one of only three concertos that Vivaldi wrote for four violins, all of which were contained in his Opus 3 L’estro armónico, his first work published in Amsterdam, affording him not only improved printing of his music, but also greater distribution of his music throughout eighteenth century Europe.It is in four movements: Andante, Allegro assai, Adagio, and Allegro.

Albisiphonics

Albisiphonics is a piece for bass flute and piano written for Peter Sheridan on the occasion of his acquiring an Albisiphon Baritono. This rare flute was manufactured c. 1920 and was designed by Albelardo Ernesto Albisi (1872-1938), who from 1897 was the principal flutist for La Scala in Milan, Italy. In 1910, Albisi designed a family of such instruments with varying ranges. The Albisiphon Baritono, having essentially the same range as the modern bass flute, including a B foot, is an upright instrument with a T-shaped head and a large bore. Albisiphonics celebrates all three octaves of the modern bass flute and features many of its moods: the unapologetically-romantic andlyrical, the brash with its staccato syncopations, the contemplative, the tender, the exuberant and the euphoric. Movements include: Early Morning Departure. First Star, The Unfettered Mind, Shades Make the Musician. Albisiphonics is a piece for bass flute and piano written for Peter Sheridan on the occasion of his acquiring an Albisiphon Baritono. This rare flute was manufactured c. 1920 and was designed by Albelardo Ernesto Albisi (1872-1938), who from 1897 was the principal flutist for La Scala in Milan, Italy. In 1910, Albisi designed a family of such instruments with varying ranges. The Albisiphon Baritono, having essentially the same range as the modern bass flute, including a B foot, is an upright instrument with a T-shaped head and a large bore. Albisiphonics celebrates all three octaves of the modern bass flute and features many of its moods: the unapologetically-romantic andlyrical, the brash with its staccato syncopations, the contemplative, the tender, the exuberant and the euphoric. Movements include: Early Morning Departure. First Star, The Unfettered Mind, Shades Make the Musician.

Trio No. 3, Op. 51

Based on source material from the archive of the Netherlands Music Institute in The Hague, this newly-engraved reconstruction of the Trio No. 3, Op. 51 by Benoit Tranquille Berbiguier for Three Flutes includes a full score and all three parts. Berbiguier is primarily known for his methods and small ensembles for flutes composed during and after his education at the National Conservatory of Music in Paris. The original edition from the archives, published by French publisher Janet & Cotelle, c. 1820, contains only three parts with no score. While the original aim was to assemble a full score while recreating the individual parts faithfully, editorial decisions were made throughout tocorrect many serious inconsistencies between the parts, especially regarding articulations and dynamics, and even including differences in tempo markings. The resulting standardized, consistent editions should allow students and teachers more effective – and more efficient – learning and instruction. Trio No. 3, Op. 51 is in three movements: Allegro risoluto, Andantino, Poco vivo (Rondo). Based on source material from the archive of the Netherlands Music Institute in The Hague, this newly-engraved reconstruction of the Trio No. 3, Op. 51 by Benoit Tranquille Berbiguier for Three Flutes includes a full score and all three parts. Berbiguier is primarily known for his methods and small ensembles for flutes composed during and after his education at the National Conservatory of Music in Paris. The original edition from the archives, published by French publisher Janet & Cotelle, c. 1820, contains only three parts with no score. While the original aim was to assemble a full score while recreating the individual parts faithfully, editorial decisions were made throughout tocorrect many serious inconsistencies between the parts, especially regarding articulations and dynamics, and even including differences in tempo markings. The resulting standardized, consistent editions should allow students and teachers more effective – and more efficient – learning and instruction. Trio No. 3, Op. 51 is in three movements: Allegro risoluto, Andantino, Poco vivo (Rondo).

Trio No. 1, Op. 51

Based on source material from the archive of the Netherlands Music Institute in The Hague, this newly-engraved reconstruction of the Trio No. 1, Op. 51 by Benoit Tranquille Berbiguier for Three Flutes includes a full score and all three parts. Berbiguier is primarily known for his methods and small ensembles for flutes composed during and after his education at the National Conservatory of Music in Paris. The original edition from the archives, published by French publisher Janet & Cotelle, c. 1820, contains only three parts with no score. While the original aim was to assemble a full score while recreating the individual parts faithfully, editorial decisions were made throughout tocorrect many serious inconsistencies between the parts, especially regarding articulations and dynamics, and even including differences in tempo markings. The resulting standardized, consistent editions should allow students and teachers more effective – and more efficient – learning and instruction. Trio No. 1, Op. 51 is in three movements: Allegro poco assai, Andante non tanto, Poco presto (Finale). Based on source material from the archive of the Netherlands Music Institute in The Hague, this newly-engraved reconstruction of the Trio No. 1, Op. 51 by Benoit Tranquille Berbiguier for Three Flutes includes a full score and all three parts. Berbiguier is primarily known for his methods and small ensembles for flutes composed during and after his education at the National Conservatory of Music in Paris. The original edition from the archives, published by French publisher Janet & Cotelle, c. 1820, contains only three parts with no score. While the original aim was to assemble a full score while recreating the individual parts faithfully, editorial decisions were made throughout tocorrect many serious inconsistencies between the parts, especially regarding articulations and dynamics, and even including differences in tempo markings. The resulting standardized, consistent editions should allow students and teachers more effective – and more efficient – learning and instruction. Trio No. 1, Op. 51 is in three movements: Allegro poco assai, Andante non tanto, Poco presto (Finale).