Eleven Pieces for Flute Alone : 21st Century Masterworks

Concerto

The Concerto for Flute by Eugene Magalif was completed in 2015. In February 2016, it was recorded for the CD album "Colibri" by soloist Patrick Dillery, flute (USA) and Dnipro Symphony Orchestra (Ukraine), and a few days later, in March, the World Premiere took place in Dnipro Philharmonic Hall. It consists of three movements: Allegretto – Andante – Allegro, and the form is close to similar works of the 18th century. The first and third movements are written in the rondo-variation form, while the second movement is a three-part fugue with a freely-floating flute obbligato, each combining styles of 18th-19th century classical music with modern popular music.The Concerto for Flute by Eugene Magalif was completed in 2015. In February 2016, it was recorded for the CD album "Colibri" by soloist Patrick Dillery, flute (USA) and Dnipro Symphony Orchestra (Ukraine), and a few days later, in March, the World Premiere took place in Dnipro Philharmonic Hall. It consists of three movements: Allegretto – Andante – Allegro, and the form is close to similar works of the 18th century. The first and third movements are written in the rondo-variation form, while the second movement is a three-part fugue with a freely-floating flute obbligato, each combining styles of 18th-19th century classical music with modern popular music.

Concerto

The Concerto for Flute by Eugene Magalif was completed in 2015. In February 2016, it was recorded for the CD album "Colibri" by soloist Patrick Dillery, flute (USA) and Dnipro Symphony Orchestra (Ukraine), and a few days later, in March, the World Premiere took place in Dnipro Philharmonic Hall. It consists of three movements: Allegretto – Andante – Allegro, and the form is close to similar works of the 18th century. The first and third movements are written in the rondo-variation form, while the second movement is a three-part fugue with a freely-floating flute obbligato, each combining styles of 18th-19th century classical music with modern popular music.The Concerto for Flute by Eugene Magalif was completed in 2015. In February 2016, it was recorded for the CD album "Colibri" by soloist Patrick Dillery, flute (USA) and Dnipro Symphony Orchestra (Ukraine), and a few days later, in March, the World Premiere took place in Dnipro Philharmonic Hall. It consists of three movements: Allegretto – Andante – Allegro, and the form is close to similar works of the 18th century. The first and third movements are written in the rondo-variation form, while the second movement is a three-part fugue with a freely-floating flute obbligato, each combining styles of 18th-19th century classical music with modern popular music.

The Swiss Boy

The Swiss Boy belongs to the vast repertoire of solo feature music of the nineteenth century concert-in-the-park bands. Before the days of electronic amplification, soloists had to be selected from amongst those instruments that were able to project their sound above the accompanying ensemble and beyond the bandstand to their audiences. Whereas the cornet was the undisputed first choice, the piccolo frequently claimed its solo position out in front. The Swiss Boy belongs to the vast repertoire of solo feature music of the nineteenth century concert-in-the-park bands. Before the days of electronic amplification, soloists had to be selected from amongst those instruments that were able to project their sound above the accompanying ensemble and beyond the bandstand to their audiences. Whereas the cornet was the undisputed first choice, the piccolo frequently claimed its solo position out in front.

Golliwogg's Cakewalk

In 1908, fourteen years after composing the Prélude à l'Après-midi d'un faune, Claude Debussy completed the piano suite, Children’s Corner, which was dedicated to his daughter “Chouchou.” The sixth and final movement, Golliwogg’s Cakewalk, is a delightfully clever miniature that demonstrates Debussy’s recognition of two major trends in late nineteenth century music: the innovative ragtime rhythms of American culture, and a "tribute" to Richard Wagner by including a quotation from the famous opera, Tristan and Isolde.In 1908, fourteen years after composing the Prélude à l'Après-midi d'un faune, Claude Debussy completed the piano suite, Children’s Corner, which was dedicated to his daughter “Chouchou.” The sixth and final movement, Golliwogg’s Cakewalk, is a delightfully clever miniature that demonstrates Debussy’s recognition of two major trends in late nineteenth century music: the innovative ragtime rhythms of American culture, and a "tribute" to Richard Wagner by including a quotation from the famous opera, Tristan and Isolde.

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.

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.

Four Preludes for the Season of Worship

The four preludes included in this collection are each based upon a tune associated with a particular time of the church calendar. The Lenten prelude, Meditation upon "Forty Days and Forty Nights", likewise employs a theme with interpolations approach. The hymn tune, Heinlein, is most closely associated with the English text, "Forty days and forty nights, Thou wast fasting in the wild". However in the midst of this piece occur short musical representations of the three temptations. In the case of the Variations on an Old French Carol, its association is with both Easter in its text of "Love is Come Again" and in its Christmas text of "Noel Nouvelet" (or as sung inEnglish, "Sing We Now of Christmas"). The advent prelude, Meditation upon a Sarum Plainsong, uses the 7th century plainsong chant Conditor Alme Siderum as its basis, with frequent trope-like interpolations occurring between the phrases. Even more simply conceived, the rendering of the Victorian Christmas hymn, Once in Royal David's City. The first verse is played sweetly and simply, while harmonic material is added for verses two and three. The four preludes included in this collection are each based upon a tune associated with a particular time of the church calendar. The Lenten prelude, Meditation upon "Forty Days and Forty Nights", likewise employs a theme with interpolations approach. The hymn tune, Heinlein, is most closely associated with the English text, "Forty days and forty nights, Thou wast fasting in the wild". However in the midst of this piece occur short musical representations of the three temptations. In the case of the Variations on an Old French Carol, its association is with both Easter in its text of "Love is Come Again" and in its Christmas text of "Noel Nouvelet" (or as sung inEnglish, "Sing We Now of Christmas"). The advent prelude, Meditation upon a Sarum Plainsong, uses the 7th century plainsong chant Conditor Alme Siderum as its basis, with frequent trope-like interpolations occurring between the phrases. Even more simply conceived, the rendering of the Victorian Christmas hymn, Once in Royal David's City. The first verse is played sweetly and simply, while harmonic material is added for verses two and three.