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.

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.

A Bird's Tale on a Saturday for Flute Choir

A Parting Glass

A Slow March and Reflections

Illuminations on a Christmas Plainsong

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.

Grow As A River for Flute Choir

A Journey With Love for Flute Choir

Homenaje a Takemitsu for Flute and Guitar

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.

A Lantern Lit With Borrowed Light for Flute Choir

Flautista, A Suite of Latin Dances for Flute Choir

Rhapsody on a Theme of Paganini for Flute Quintet

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.

Cigany Konnyek (Gypsy Tears)

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

I'll Love My Love

I'll Love My Love is a Cornish folk song made familiar by Gustav Holst. This arrangement was inspired by the settings of the song used by Holst in his "Second Suite in F for Military Band", as well as a four part (SATB) vocal arrangement. It has a hauntingly beautiful melody that lends itself particularly well to the flute choir. I'll Love My Love is a Cornish folk song made familiar by Gustav Holst. This arrangement was inspired by the settings of the song used by Holst in his "Second Suite in F for Military Band", as well as a four part (SATB) vocal arrangement. It has a hauntingly beautiful melody that lends itself particularly well to the flute choir.

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.

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.

Three Korean Folk Songs

In a simple, yet charming style, Kelly Via has set the well-known tune, Arirang along with Gold Grass and Blue Bird to form a suite of three contrasting movements. Arirang, the most familiar Korean folk tune is about a woman waiting for her lost love. Gold Grass depicts the beautiful gold colored grass that grows in the deep valleys in the spring. Blue Bird is a song about people telling the blue bird not to sit on the plants in the mung bean field. In a simple, yet charming style, Kelly Via has set the well-known tune, Arirang along with Gold Grass and Blue Bird to form a suite of three contrasting movements. Arirang, the most familiar Korean folk tune is about a woman waiting for her lost love. Gold Grass depicts the beautiful gold colored grass that grows in the deep valleys in the spring. Blue Bird is a song about people telling the blue bird not to sit on the plants in the mung bean field.

March to the Scaffold from Symphony Fantastique

The March to the Scaffold is the fourth movement of Hector Berlioz's "Symphonie Fantastique," a programmatic work consisting of five movements. This movement depicts the central artist character poisoning himself and dreaming that as a result of killed his beloved, he is being led to the scaffold and witnessing his own execution. The timpani parts (which are not optional), give a true sense of the march feeling. The two timpani parts are identical to the original orchestral version, however, a condensed part for one player is included.The March to the Scaffold is the fourth movement of Hector Berlioz's "Symphonie Fantastique," a programmatic work consisting of five movements. This movement depicts the central artist character poisoning himself and dreaming that as a result of killed his beloved, he is being led to the scaffold and witnessing his own execution. The timpani parts (which are not optional), give a true sense of the march feeling. The two timpani parts are identical to the original orchestral version, however, a condensed part for one player is included.

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.