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.

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.

Divertimento No. 2

Divertimento No. 2 was composed in 2016 to showcase Flute Street, a Toronto-based, professional flute ensemble in which Isaac's mother, Carolyn Ricketts, is a founding member. Flute Street first performed the work that November in Toronto and then, because of its generous attention to the melodic possibilities of the alto, bass and contrabass flute colours, chose to premiere it in Reston, Virginia (U.S.A.) at the First International Low Flutes Festival in April 2018. The composer notes "As with my other Divertimenti, this work deals with how similar elements can create contrast. The homogeneous timbre of the flute choir is used in this work to highlight the formal contrasts thatare at play. Structured in an arch form, the work starts with a complex harmonic language that gradually simplifies. As the harmonic language simplifies, the accompaniment becomes more complex." Divertimento No. 2 was composed in 2016 to showcase Flute Street, a Toronto-based, professional flute ensemble in which Isaac's mother, Carolyn Ricketts, is a founding member. Flute Street first performed the work that November in Toronto and then, because of its generous attention to the melodic possibilities of the alto, bass and contrabass flute colours, chose to premiere it in Reston, Virginia (U.S.A.) at the First International Low Flutes Festival in April 2018. The composer notes "As with my other Divertimenti, this work deals with how similar elements can create contrast. The homogeneous timbre of the flute choir is used in this work to highlight the formal contrasts thatare at play. Structured in an arch form, the work starts with a complex harmonic language that gradually simplifies. As the harmonic language simplifies, the accompaniment becomes more complex."

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.

Scherzino

The Scherzino of Joachim Andersen (1847—1909) belongs to his opus 55 collection of eight recital pieces. Here, it is arranged by Matt Johnston for solo flute with the accompaniment of a small flute choir (the contrabass/contralto flute part is optional). Additionally, this work is available in another volume for solo flute and strings. It is possible to play it in unison with a group of string players, such as a string quartet or orchestra. The Scherzino of Joachim Andersen (1847—1909) belongs to his opus 55 collection of eight recital pieces. Here, it is arranged by Matt Johnston for solo flute with the accompaniment of a small flute choir (the contrabass/contralto flute part is optional). Additionally, this work is available in another volume for solo flute and strings. It is possible to play it in unison with a group of string players, such as a string quartet or orchestra.

Cantilena and Rigadoon

Cantilena has a song-like quality which the performer should try to convey, while the Rigadoon is a moderately fast dance movement, both arranged here together for contra clarinet with piano accompaniment. In the case of this Cantilena and Rigadoon, the solo part fit so well into the range of the clarinet, it only made sense to keep the solo part the same for each instrument (contrabass and contralto) and to transpose the piano part. Thus, a single solo part is included, as well as two separate piano parts, corresponding to the contrabass clarinet (in B-flat) and contralto clarinet (in E-flat). This work can be played with either a contrabass or contralto clarinet.Cantilena has a song-like quality which the performer should try to convey, while the Rigadoon is a moderately fast dance movement, both arranged here together for contra clarinet with piano accompaniment. In the case of this Cantilena and Rigadoon, the solo part fit so well into the range of the clarinet, it only made sense to keep the solo part the same for each instrument (contrabass and contralto) and to transpose the piano part. Thus, a single solo part is included, as well as two separate piano parts, corresponding to the contrabass clarinet (in B-flat) and contralto clarinet (in E-flat). This work can be played with either a contrabass or contralto clarinet.

Remembrances, Volume 1: Debussy

Remembrances, Volume 1: Debussy, was commissioned by Kathleen Osborn for the West Michigan Flute Orchestra's music director Darlene Dugan, and is dedicated to the memory of Kathleen's husband Brad Osborn. Brad Osborn, who attended all of the WMFO's concerts was an accomplished pianist with a passion for teching the joy of music to his young students. Kathy felt a desire to honor Brad with music he especially enjoyed and asked Kelly Via to write a piece based on the piano compositions of his favorite composers: Claude Debussy, Camille Saint-Saens, and Scott Joplin. Both Kathy and Kelly agreed that the work should not be a transcription but rather an "interpretation" of Brad'sfavorite compositions. Remembrances, Volume 1: Debussy, was commissioned by Kathleen Osborn for the West Michigan Flute Orchestra's music director Darlene Dugan, and is dedicated to the memory of Kathleen's husband Brad Osborn. Brad Osborn, who attended all of the WMFO's concerts was an accomplished pianist with a passion for teching the joy of music to his young students. Kathy felt a desire to honor Brad with music he especially enjoyed and asked Kelly Via to write a piece based on the piano compositions of his favorite composers: Claude Debussy, Camille Saint-Saens, and Scott Joplin. Both Kathy and Kelly agreed that the work should not be a transcription but rather an "interpretation" of Brad'sfavorite compositions.

Waking of the Green Spring

Anže Rozman's Waking of the Green Spring (Prebujanje zelene pomladi) draws together Impressionism and Minimalism as it paints an image of the titular spring erupting to life. The piece opens with the four flutes painting a mysterious running texture based in whole tones, swelling and fading in turns. The central slower section creates an almost reverent choral sound with large blocks of chords, building again into the opening textures but colored with more complex melodies and staccato runs. The work ends with a gentle spring dreamscape.Anže Rozman's Waking of the Green Spring (Prebujanje zelene pomladi) draws together Impressionism and Minimalism as it paints an image of the titular spring erupting to life. The piece opens with the four flutes painting a mysterious running texture based in whole tones, swelling and fading in turns. The central slower section creates an almost reverent choral sound with large blocks of chords, building again into the opening textures but colored with more complex melodies and staccato runs. The work ends with a gentle spring dreamscape.

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.

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.

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.

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.

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.

Notes to Self for Harp

A Journey With Love for Flute Choir

Nocturno

Franz Strauss (1822-1905), the father of the composer Richard Strauss, played horn in the Bavarian Court Opera orchestra for more than 40 years and composed a number of repertoire pieces for the horn. The Nocturno, Op. 7, for horn and piano was first published in 1904. With a range that is very well suited to the bass flute, it is a great solo to showcase the expressive and lyrical side of the instrument. It has been arranged here by flutist Jeffrey Beyer. Franz Strauss (1822-1905), the father of the composer Richard Strauss, played horn in the Bavarian Court Opera orchestra for more than 40 years and composed a number of repertoire pieces for the horn. The Nocturno, Op. 7, for horn and piano was first published in 1904. With a range that is very well suited to the bass flute, it is a great solo to showcase the expressive and lyrical side of the instrument. It has been arranged here by flutist Jeffrey Beyer.

Concerto

One of Antonio Vivaldi's most oft-performed works, the Concerto, RV 537, originally for two trumpets and strings has been adapted here for two solo E-flat clarinets with clarinet choir accompaniment. To better suit the range of the clarinets, the whole work has been transposed to the key of E-flat Major. Included in the set of parts are two different versions of the solo parts: Solo parts without alterations, and solo parts including ornaments and embellishments from the arranger.One of Antonio Vivaldi's most oft-performed works, the Concerto, RV 537, originally for two trumpets and strings has been adapted here for two solo E-flat clarinets with clarinet choir accompaniment. To better suit the range of the clarinets, the whole work has been transposed to the key of E-flat Major. Included in the set of parts are two different versions of the solo parts: Solo parts without alterations, and solo parts including ornaments and embellishments from the arranger.

Elegia

Giovanni Bottesini (1821-1889) was widely regarded as the Paganini of the double bass and was one of the first champions of the instrument. Though he composed a wide range of music, from chamber music to operas, his legacy is his contribution to the double bass repertoire. Due to the similar ranges of the instruments, this repertoire is a perfect candidate for adaptation for contra clarinets. In this arrangement, the solo part fit so well into the range of the clarinet, it only made sense to keep the solo part the same for each instrument (contrabass and contralto) and to transpose the piano part. Thus, a single solo part is included, as well as two separate piano parts,corresponding to the contrabass clarinet (in B-flat) and contralto clarinet (in E-flat). This work can be played with either a contrabass or contralto clarinet. Giovanni Bottesini (1821-1889) was widely regarded as the Paganini of the double bass and was one of the first champions of the instrument. Though he composed a wide range of music, from chamber music to operas, his legacy is his contribution to the double bass repertoire. Due to the similar ranges of the instruments, this repertoire is a perfect candidate for adaptation for contra clarinets. In this arrangement, the solo part fit so well into the range of the clarinet, it only made sense to keep the solo part the same for each instrument (contrabass and contralto) and to transpose the piano part. Thus, a single solo part is included, as well as two separate piano parts,corresponding to the contrabass clarinet (in B-flat) and contralto clarinet (in E-flat). This work can be played with either a contrabass or contralto clarinet.

Perpetual Motion

A rollicking tune from Johann Strauss, Jr., sure to get stuck in your head. This piece is performed by the Vienna Philharmonic every New Year's Eve. The arrangement includes many piccolo and flute excerpts from the original work! It can be performed with just a flute quartet, or an entire flute choir, accompanied by string orchestra and percussion. A rollicking tune from Johann Strauss, Jr., sure to get stuck in your head. This piece is performed by the Vienna Philharmonic every New Year's Eve. The arrangement includes many piccolo and flute excerpts from the original work! It can be performed with just a flute quartet, or an entire flute choir, accompanied by string orchestra and percussion.

Meditation on 'Abide With Me' for Flute Choir

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.

A Lantern Lit With Borrowed Light for Flute Choir

Bach to the Fluture for Flute Choir

Biddy Biddy

From the composer: "Biddy Biddy" is the name of a Jamaican children’s folk song about a chicken. There are so many different melodies associated with Biddy Biddy that I simply made up a simple appealing tune and devoted the composition from there. This piece is dedicated to Mark Delpriora, my friend and amazing guitarist and guitar teacher at Juilliard and Manhattan School of Music. From the composer: "Biddy Biddy" is the name of a Jamaican children’s folk song about a chicken. There are so many different melodies associated with Biddy Biddy that I simply made up a simple appealing tune and devoted the composition from there. This piece is dedicated to Mark Delpriora, my friend and amazing guitarist and guitar teacher at Juilliard and Manhattan School of Music.

Scherzino

The Scherzino of Joachim Andersen (1847—1909) belongs to his opus 55 collection of eight recital pieces. Here, it is arranged by Matt Johnston for solo flute with the accompaniment of strings (the double bass part is optional). Additionally, this work is available in another volume for solo flute and flute choir, such that a string orchestra and flute choir can play this piece together. The Scherzino of Joachim Andersen (1847—1909) belongs to his opus 55 collection of eight recital pieces. Here, it is arranged by Matt Johnston for solo flute with the accompaniment of strings (the double bass part is optional). Additionally, this work is available in another volume for solo flute and flute choir, such that a string orchestra and flute choir can play this piece together.