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.

Canzona La Padovana

Published in 1610, Canzona "La Padovana" is from Viadana's only purely instrumental collection, his Sinfonie muscali for eight voices, op. 18. Each of the eighteen canzoni therein is named after an Italian city such as Rome, Naples, Venice, Milan, and in this instance Padua. Typically, this canzona is composed in two contrasting sections: a slower opening section in duple time that uses frequent imitative entries in a flowing polyphonic style and a following section in triple time that is by contrast in a simpler, homophonic genre.Published in 1610, Canzona "La Padovana" is from Viadana's only purely instrumental collection, his Sinfonie muscali for eight voices, op. 18. Each of the eighteen canzoni therein is named after an Italian city such as Rome, Naples, Venice, Milan, and in this instance Padua. Typically, this canzona is composed in two contrasting sections: a slower opening section in duple time that uses frequent imitative entries in a flowing polyphonic style and a following section in triple time that is by contrast in a simpler, homophonic genre.

The Magic Flute, Potpourri pour la Flûte

La Tourterelle for Solo Piccolo and Concert Band

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.

La Flute de Pan for Solo Flute and Concert Band

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.

Lo, How a Rose E'er Blooming

The Eleven Chorale Preludes were the last works composed by Johannes Brahms. They were composed in the summer of 1896 after the death of his dear friend, Clara Schumann. The beauty of this particular chorale prelude, Lo How a Rose E'er Blooming, is not lost on audiences, as it is the best known of the eleven. From a compositional view the work has been described in program notes by Scott Foglesong as “richly chromatic, and improvisatory” and “while floridly elaborate never masked the dignified simplicity of the original melody.“ The flute choir adaptation of this work is expanded from the choral prelude format. The choral prelude as composed by Brahms is stated twice. Between thefirst and second stanzas of the chorale is the original setting of the carol. The Eleven Chorale Preludes were the last works composed by Johannes Brahms. They were composed in the summer of 1896 after the death of his dear friend, Clara Schumann. The beauty of this particular chorale prelude, Lo How a Rose E'er Blooming, is not lost on audiences, as it is the best known of the eleven. From a compositional view the work has been described in program notes by Scott Foglesong as “richly chromatic, and improvisatory” and “while floridly elaborate never masked the dignified simplicity of the original melody.“ The flute choir adaptation of this work is expanded from the choral prelude format. The choral prelude as composed by Brahms is stated twice. Between thefirst and second stanzas of the chorale is the original setting of the carol.

The Girl With the Flaxen Hair

The Girl with the Flaxen Hair (La fille aux cheveux de lin) was composed by Claude Debussy (1862 - 1918) around 1910 and is included in his first book of Preludes for solo piano. It is one of his most well-known and oft-recorded works, beloved for its warmth and simplicity. Here, it is arranged for flute choir by Nicholas Buonanni. The Girl with the Flaxen Hair (La fille aux cheveux de lin) was composed by Claude Debussy (1862 - 1918) around 1910 and is included in his first book of Preludes for solo piano. It is one of his most well-known and oft-recorded works, beloved for its warmth and simplicity. Here, it is arranged for flute choir by Nicholas Buonanni.

A Bird's Tale on a Saturday for Flute Choir

A Parting Glass

Illuminations on a Christmas Plainsong

A Slow March and Reflections

Allegretto from Symphony No. 7

Beethoven's Seventh Symphony, op. 92, created in 1812, was composed entirely without a slow movement. Instead, this famous Allegretto opens with a statement of an A minor chord followed by a rhythmic and hypnotic theme - a somewhat sombre and dream-like march. Beethoven's Seventh Symphony, op. 92, created in 1812, was composed entirely without a slow movement. Instead, this famous Allegretto opens with a statement of an A minor chord followed by a rhythmic and hypnotic theme - a somewhat sombre and dream-like march.

A Journey With Love for Flute Choir

Homenaje a Takemitsu for Flute and Guitar

Grow As A River for Flute Choir

Cavatina and Cabaletta

The Cavatina and Cabaletta format originated in the bel canto era as a showpiece for virtuosi. A short and lyrical arietta was followed by a quick section with fioratura, designed to show off the performer. The Cavatina and Cabaletta format originated in the bel canto era as a showpiece for virtuosi. A short and lyrical arietta was followed by a quick section with fioratura, designed to show off the performer.

The Christmas Flutist: 20 Songs and Carols

The Christmas Flutist is a collection of 20 Songs and Carols arranged for solo flute by Judy Nishimura. The perfect companion for a flutist looking for music to play at a church service, a solo gig, or just to enjoy at home. Additionally, each arrangement has retained the key signature most commonly associated with the tune, thus they can easily be used as a prelude or introduction to the same titles used during a church service. The Christmas Flutist is a collection of 20 Songs and Carols arranged for solo flute by Judy Nishimura. The perfect companion for a flutist looking for music to play at a church service, a solo gig, or just to enjoy at home. Additionally, each arrangement has retained the key signature most commonly associated with the tune, thus they can easily be used as a prelude or introduction to the same titles used during a church service.

Rhapsody on a Theme of Paganini for Flute Quintet

A Lantern Lit With Borrowed Light for Flute Choir

Flautista, A Suite of Latin Dances for Flute Choir

French Nativity Suite

Three lovely traditional Christmas carols are beautifully set and can be played separately or as a suite. These pieces each capture the magic of melody as well as the dance-like essence of this music. Songs include: Il Est Ne, Un Flambeau, Jeanette Isabella (Bring a Torch, Jeanette Isabella), and Pat-a-Pan. Three lovely traditional Christmas carols are beautifully set and can be played separately or as a suite. These pieces each capture the magic of melody as well as the dance-like essence of this music. Songs include: Il Est Ne, Un Flambeau, Jeanette Isabella (Bring a Torch, Jeanette Isabella), and Pat-a-Pan.

Eternal Springs

Lewis A. Kocher composed "Eternal Springs" in honor of the 30th anniversary of the Hot Springs Flute Ensemble and is dedicated to its founder, Dr. Jackie Flowers. With the waters as inspiration for the music, the piece starts out quietly with just a few flutes, then builds in intensity and participation. The trickle grows to a stream, in some parts noisy and exciting, in others vernal and lyrical. The duet of flute and piccolo in the latter section of the piece splashes and plays like a tiny rivulet dancing over pebbles. Lastly and once more following the imagery of a large stream, the ensemble takes a final plunge of excitement before the river settles into its smooth, dailycourse, the tiny trickle has realized its potential to become a great water of life. Lewis A. Kocher composed "Eternal Springs" in honor of the 30th anniversary of the Hot Springs Flute Ensemble and is dedicated to its founder, Dr. Jackie Flowers. With the waters as inspiration for the music, the piece starts out quietly with just a few flutes, then builds in intensity and participation. The trickle grows to a stream, in some parts noisy and exciting, in others vernal and lyrical. The duet of flute and piccolo in the latter section of the piece splashes and plays like a tiny rivulet dancing over pebbles. Lastly and once more following the imagery of a large stream, the ensemble takes a final plunge of excitement before the river settles into its smooth, dailycourse, the tiny trickle has realized its potential to become a great water of life.

Cigany Konnyek (Gypsy Tears)

Cigány Könnyek (Gypsy Tears) by P. Brent Register is a work in two parts for flute and piano. The opening section, free and almost improvisatory, leads to a rhythmically charged and vibrant dance in 5/8 time. Cigány Könnyek (Gypsy Tears) by P. Brent Register is a work in two parts for flute and piano. The opening section, free and almost improvisatory, leads to a rhythmically charged and vibrant dance in 5/8 time.