Austrian
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Haydn - Trio, Hob. XV:25 ‘Gypsy’ - arr. Woodwind Quartet
Trio, Hob. XV:25 ‘Gypsy’, by Franz Joseph Haydnarranged for Woodwind Quartet by John W. Pratt
Score and Parts for Flute, Oboe, B♭-Clarinet, and Bassoon; plus, an alternative A-Clarinet part; PDF $16.97
Short summary adapted by NSM from John W. Pratt’s foreword to the edition:The trios Hob. XV: 24-26 were, in Robbins Landon’s account (Haydn, Indiana, 1976), probably the last works Haydn delivered to his publishers before he left England in 1795. They were written for strong amateur pianists and weak string players, and although the string parts are essential for their effects on sonority, they are not terribly interesting. Such a scenario lends itself beautifully to arrangement of these piano trios for wind quartet.
Haydn labeled the finale of Hob. XV: 25 "in the Gypsies' style", and the trio became an enormous favorite. In the key of G, it opens with a particularly lovely slow movement having alternating minor and major variations. The third variation is in the relative minor (e), anticipating the key, E major, of the even slower, but subtle and melodically rich, second movement. This retardation heightens the effect of the famous finale.
We have provided alternative parts for clarinet in B-flat and in clarinet in
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Haydn – Adagio from Symphony No.24 – trans. Solo Flute and Flute Choir
Adagio from Symphony No.24 by F. J. HaydnTranscribed for Solo Flute accompanied by Flute Choir, by John W. Pratt (originally for flute and strings)
Score and Parts for Solo Flute, Flutes 1 and 2, Alto Flute, and Bass Flute/Contrabass Flute, PDF $7.99
Haydn wrote his Symphony No.24 in 1764. Its second movement is a beautiful Adagio for flute solo accompanied by strings. The string parts are simple, with no double stops or extreme high notes, so they can be played comfortably by corresponding members of the flute family, except for a few low notes. This transcription for flute choir is therefore straightforward except that the alto flute sometimes plays violin notes that C-flutes cannot play or can use support playing, and similarly the bass flute plays some viola notes instead of or in addition to the alto flute playing them. Notes taken from the cello in its lowest octave have been raised an octave for bass flute, but there are fewer than one might expect. Perhaps one reason is that Haydn expected a (string) bass to be doubling the cello an octave lower, playing from the same part. If a contrabass flute is available, it can double the bass flute similarly, serving even more to enrich the sound. —adapted from JWP’s preface to the
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Haydn – Hob. II:21 – arr. Flute Quartet
Divertimento No. 1 (Hob. II:21; Op. 2 No. 3) by Franz Joseph HaydnArranged for Flute Quartet by John W. Pratt (originally for string quartet plus 2 horns)
Score and Parts for Flute 1, Flute 2, Alto Flute, and Bass Flute, PDF $11.97
excerpted from John W. Pratt’s © preface to the edition:
“Haydn (1732-1809) is credited with developing the classical forms of both the string quartet and the symphony, starting from the loose structures and permissive instrumentation of Baroque instrumental music. … His first string quartets are his Opus 1 Nos. 1-4 and 6, and Opus 2 Nos. 1-6, thus eleven. Opus 1 No. 5 is somewhat later, added to make a set of 6, apparently a perfect number in music publication as well as in mathematics. Opus 2 Nos. 3 and 5 are quartet arrangements of two divertimentos including also two horns and listed in the Hoboken catalogue as II:21 and 22 … The spirit and spiritedness of the two divertimentos suit them to flute quartet, as does the distribution of activity. In addition, a flute quartet combines the unified timbre of a string quartet with the wind sound of the horns, while the early string quartets do not exploit the string sound per se. Transposition up a step puts the cello and viola parts of Hob. II:21 mostly within the bass and
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Haydn – Hob. II:22 – arr. Flute Quartet
Divertimento No. 2 (Hob. II:22; Op.2, No.5) by Franz Joseph HaydnArranged for Flute Quartet by John W. Pratt (originally for string quartet plus 2 horns)
Score and Parts for Flute 1, Flute 2, Alto Flute, and Bass Flute, PDF $10.97
This is the second of Haydn’s two divertimenti, Hob. II:21 and II:22, that John Pratt has arranged for flute quartet, scored for two C-flutes, alto flute, and bass flute. Both divertimenti were written originally for string quartet plus two horns, but were later adapted by others as quartet-only versions identified as Opus 2, No.3 and No.5. Please see the text excerpted from Mr. Pratt’s preface to his arrangement of Haydn’s Divertimento No.1 (Op.2, No.3) for additional information that applies to both these works. There are 5 movements in Op.2, No.5: I-Presto, II-Minuet, III-Largo, IV-Minuet, and V-Finale Presto. Listen to this computer-generated audio clip from the second movement Minuet to get a sense of how the quartet sounds with flutes in lieu of strings.
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Haydn – Symphony 13 - arr. for Multiple Flutes
Symphony 13, by Franz Joseph HaydnArranged for Multiple Flutes by John W. Pratt
Score and Parts for Flutes 1-4, Alto Flute, Bass Flute; PDF $23.95
This arrangement of Haydn’s Symphony No.13 is for a flute ensemble of any size including at least one bass, one alto, and two concert flutes. Third and fourth concert flute parts are also provided, and all parts can be doubled at will. If a contrabass flute is available, it can double the bass flute, serving to deepen and enrich the sound. The second movement is a beautiful Adagio cantabile, originally for solo cello accompanied by strings, which transcribes nicely for alto flute accompanied by the rest of the flute family. The trio of the symphony’s third movement has a delightful solo flute part with only string accompaniment. A large flute ensemble would be about the size of Haydn’s core orchestra at the time this symphony was composed; in our arrangement, Haydn’s original key has been raised a minor third to better suit the natural range of a flute ensemble.
Score, 17 pages; separate parts for Flute 1, Flute 2, Flute 3, and Flute 4, 6 pages each; Alto Flute part, 7 pages; Bass Flute part, 6 pages; Total, 68 pages.
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Mozart - Concerto in D Major - Alto Flute
Concerto in D Major, K.412, by W. A. Mozart Transcribed (from horn and piano arrangement) for Alto Flute by C.A.Vater
Alto Flute Part, PDF $3.99
Mozart's Concerto for Horn in D major for Horn and Orchestra is scored for solo horn in D, with two oboes, two bassoons, and strings. Henri Kling (1842-1918), horn player, composer, conductor, and professor, arranged the concerto for horn and piano. We used the Kling arrangement as the source from which to create a transcription of the horn part for alto flute. The piano scoreis in the public domain and available as a free pdf download from other sources such as imslp.org/.
The Concerto in D major, K.412 is a short work of approximately 8-10 min duration, consisting of only two movements - an Allegro and a Rondo Allegro. The movements are light and joyous, and pose no particular technical challenges to the alto flute player. The written range is quite limited, extending only from D5 to E6. Thus, this piece can be played by less advanced students as well as by more experienced alto flutists.
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Mozart - Concerto in E-flat major, K417 - Alto Flute & Piano
Concerto No.2 in E-flat major, K.417, by W. A. MozartTranscribed for Alto Flute (from horn and piano arrangement) by C.A.Vater
Piano Score and Alto Flute Part, PDF $9.99
Mozart wrote his Concerto No. 2 in E-flat major for Horn and Orchestra for his good friend, the virtuoso horn soloist Joseph Leutgeb (c.1745-1811), who became first horn in the orchestra of the Salzburg archbishop in 1770. The concerto was completed in 1783. Its movements are light, joyous, and teeming with melody: a wide-ranging opening allegro, a slow middle movement, and a final rondo. The second movement Andante is particularly lyrical and beautiful, whereas the concluding Rondo is quite comic with an obvious hunting theme.
The concerto was arranged for horn and piano by Henri Kling (1842-1918), horn player, composer, conductor, and professor. We used the Kling arrangement, which was published ca.1890 and is now in the public domain, as the basis of our transcription of the concerto for alto flute and piano. We introduced only minor changes to the solo horn line to adapt it for alto flute, and those alterations were made with sensitivity and the intention of preserving Mozart's inspired creation to the fullest extent possible.
Alto Flute part, 4 pages; Piano Score, 16
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Mozart - Concerto in Eb Major, K.447 - Alto Flute
Concerto in E-flat Major, K.447, by W. A. MozartTranscribed for Alto Flute (from horn and piano arrangement) by C.A.Vater
Alto Flute Part, PDF $5.99
Wolfgang Amadeus Mozart (1756-1791) wrote four horn concertos for his good friend Joseph Leutgeb (1732-1811). Leutgeb was a virtuoso horn player, who served as principal horn in Salzburg and thus became a colleague of Leopold Mozart, during the young Wolfgang's early years. Leutgeb appears to have remained a friend and inspiration for W. A. Mozart throughout the composer's life.
The Mozart horn concertos are delightful, joyous works. The third horn concerto, K.447, like two of the three others, was written in the key of E-flat major. It is thought to have been composed in 1787. The work is in typical concerto form, consisting of three movements—an Allegro, a Romanze, and another Allegro, which together have an average performance duration time of approximately 15 minutes.
K.447, Concerto for Horn in E-flat major for Horn and Orchestra, is scored for solo horn in E-flat, with two clarinets, two bassoons, and strings. Henri Kling (1842-1918), a horn player who was also a composer, conductor, and professor, arranged the concerto for horn and piano. His transcription was published by
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Mozart - Concerto in Eb Major, K.495 - Alto Flute
Concerto in E-flat Major, K.495, by W. A. MozartTranscribed for Alto Flute (from horn and piano arrangement) by C.A.Vater
Alto Flute Part, PDF $7.99
Mozart's Horn Concerto No.4, K.495, was composed in 1786 and scored for solo horn, with two oboes, two horns, and strings (bassoon ad libitum). The work consists of three movements—Allegro moderato, Romanza-Andante, and Rondo-Allegro vivace—with the rousing Rondo clearly evoking a hunt scene. The horn player Henri Kling (1842-1918) created arrangements of all the Mozart horn concerti for horn and piano. His transcription of K.495 was published by Breitkopf und Härtel, n.d. (ca. 1882). We used the Kling edition, now in the public domain and available as a free pdf download from imslp.org, to create a transcription of the horn part for alto flute. Our edition incorporates adjustments that account for differences in range and sonority between the alto flute and horn, while striving to maintain the style and character of the original composition.
We provide the alto flute part only; the piano score (horn and piano) by Henri Kling is freely available from imslp.org.
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Mozart - Kegelstatt Trio - Alto Flute
"Kegelstatt" Trio in E-flat major, K.498, by W. A. Mozart
Transcribed for Alto Flute, Viola, and Piano by John W. Pratt, with a Program Note by Peter H. Bloom
Alto Flute Part, PDF $7.99As Editor-in-Chief of Noteworthy Sheet Music, LLC, I recently found myself in the unusual situation of having received transcriptions of the "Kegelstatt" Trio clarinet part for alto flute from two of NSM's most experienced and proficient arrangers, John W. Pratt and Peter H. Bloom. That both arrangers chose to create a "Kegelstatt" part for alto flute, and that their transcriptions were nearly identical, attests to the value of adapting this Mozart clarinet part and its natural fit for the alto flute. Our edition includes Mr. Pratt's alto flute part transcription, as well as a program note written by Mr. Bloom for his upcoming alto flute performances of the "Kegelstatt" Trio with Ensemble Aubade (Peter H. Bloom, flutes; Francis Grimes, viola; and Mary Jane Rupert, piano/harp). —cav, December, 2016
Our edition includes only the alto flute transcription of the clarinet part; the original piano score and viola part are in the public domain and may be downloaded
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Mozart - Sinfonia Concertante - Fl/Cl/Pf
Sinfonia Concertante, K.364, by Wolfgang Amadeus MozartTranscribed for Flute, Clarinet, and Piano by John W. Pratt
(originally for Violin, Viola, and Orchestra)
Piano Score, Flute & Clarinet Parts, PDF $17.99
Excerpted from the Foreword by J. W. Pratt: "The idea that every piece, especially a major one, can be satisfactorily transcribed for whatever instruments one would like is one I firmly reject. However, a trio arrangement of this Sinfonia Concertante for flute, clarinet, and piano can, I believe, capture and present in a new light many of the wonders of this great work, even the wonders of its sonorities..... In the arrangement here, the flute and clarinet almost always play either a solo part or an orchestral part with only octave changes..... For the piano, on the other hand, straightforward orchestral reduction is often ineffective and unsatisfying, and that would certainly be true here, even with the flute and clarinet taking some wind parts. I have attempted instead to find natural piano "orchestrations" as alternatives to Mozart's orchestral layouts, especially where the full orchestra is playing..... Such effects, often heightened on returns, are better suited to the piano's capabilities and its role as a member of
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Mozart - Sonata in A Major, K.305 - Alto Flute
Sonata in A Major, K.305, by W. A. MozartTranscribed for Alto Flute and Piano by John W. Pratt
Alto Flute Part, PDF $3.99
Mozart's Sonata in A Major, K.305 is perhaps the most completely extroverted of the Mannheim sonatas. Like K.302, it opens with four emphatically tonic bars, followed by a gentle, linear four-bar theme, all immediately repeated. The second movement of K.305 is the only movement of the Mannheim sonatas in theme-and-variations form. It is far from routine. The theme has an unusual variety of rhythms and accompaniment figurations; the 32nd-note variation is the very first, not a later one; the minor variation is at the prevailing tempo, not slow; and a brief but telling piano cadenza interrupts the antepenultimate variation's peroration. (excerpted from JWP's foreword to the edition)
We provide the transcribed alto flute part—the piano scoreis available in the public domain as a free pdf download from imslp.org/.
Alto Flute part, 4 pages; Total, 6 pages.
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Mozart - Sonata in C Major, K.296 - Alto Flute
Sonata in C Major, K.296, by W. A. MozartTranscribed for Alto Flute and Piano by John W. Pratt
Alto Flute Part, PDF $6.99
Mozart composed K.296 in 1778 under the same creative impulse as the other Mannheim violin sonatas, K.301‒306, but published it later, in 1781, with five other three-movement sonatas. He dedicated it to his Mannheim landlord's 15-year old daughter, Therese-Pierron Serrarius, who perhaps inspired the turns lightening the opening fanfares, quick trills in the first theme, and contrasting textures and sparkling interplay between the instruments in the first movement. The second movement is a beautiful arietta with wonderful opportunities for the alto flute to both present and accompany the melody. In the concluding Rondo, in sonata-rondo form, the instruments repeatedly swap the theme and much of the episodic material. ―J. W. Pratt
We provide our transcription of the violin part for alto flute; the piano score is available in the public domain as a free pdf download from imslp.org/.
For additional information about the seven Mozart Mannheim
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Mozart - Sonata in C Major, K.303 - Alto Flute
Sonata in C Major, K.303, by W. A. MozartTranscribed for Alto Flute and Piano by John W. Pratt
Alto Flute Part, PDF $4.99
Both movements of Mozart's Sonata in C Major, K.303 are quite different from others of his 'Mannheim' set. The unusual first movement is in sonata form mixing retro and novel features—the whole first subject and transition to the dominant are adagio and considerably varied in the recapitulation, and there is no development. The second movement is an old-style minuet (without trio), ending with a pedal point terminating in a tremble. Our transcription for alto flute shifts the violin part to a different octave in three short segments and we have substituted musically appropriate alternatives for the double stops. We provide our transcription of the violin part for Alto Flute in G; the piano scoreis available in the public domain as a free pdf download from imslp.org/.
Alto Flute part, 5 pages; Total, 8 pages.
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Mozart - Sonata in D Major, K.306 - Alto Flute
Sonata in D Major, K.306, by W. A. MozartTranscribed for Alto Flute and Piano by John W. Pratt
Alto Flute Part, PDF $9.99
Mozart's Sonata in D Major, K.306 is by far the longest and showiest of the 'Mannheim' sonatas, with three large-scale movements, some quasi orchestral textures, much doubling, and brilliant passage work. The first movement's development expands four transitional bars of the exposition into a far-reaching harmonic excursion. The recapitulation begins with the second subject and returns to the first so late it amounts to a coda, the only instance of 'mirror' sonata-form in the Mannheim set. In contrast, the second movement, Andante cantabile, has a structurally orthodox sonata form, compressing and ornamenting the themes in the recapitulation, as befits the tempo. The finale is an elaborate rondo alternating between allegretto in 2/4 and allegro in 6/8. (excerpted from JWP's foreword to the edition)
We provide our transcribed alto flute part; the piano scoreis available in the public domain as a free pdf download from imslp.org/.
Alto Flute part,
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Mozart - Sonata in E minor - Alto Flute
Sonata in E minor, K.304, by W. A. MozartTranscribed for Alto Flute and Piano by John W. Pratt
Alto Flute Part, PDF $5.99
Mozart's second group of violin sonatas, the seven "Mannheim" sonatas of 1778, were begun in Mannheim where Mozart also worked on a flute commission. The violin parts rarely make significant use of double stops and are in general very well suited to alto flute. It is perhaps suggestive for performance that Mozart designated all his violin sonatas for "piano and violin".
Mozart's works in minor keys are rare and special: consider the G-minor quintet and Symphony No. 40. The K.304 sonata is his only work in E minor and it is mysteriously compelling in its simplicity. It was written the same summer that his mother died.
We provide the transcribed alto flute part; the piano score is readily available in the public domain, free of charge.
For additional information about the seven Mozart Mannheim sonatas and their alto flute transcriptions, please read the
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Mozart - Sonata in E-flat Major, K.302 - Alto Flute
Sonata in E-flat Major, K.302, by W. A. MozartTranscribed for Alto Flute and Piano by John W. Pratt
Alto Flute Part, PDF $4.99
Mozart's Sonata in E-flat Major, K.302 has two movements, an Allegro and a rondo Andante grazioso. This ebullient sonata opens with a striking call to attention, much used later, which descends on the tonic triad but alternates half and quarter notes in 3/4 time, thus avoiding both square rhythm and repeated root positions on every down beat. The theme which follows is contrastingly gentle. The second movement offers a firmly forward-moving theme whose immediate repeat and final returns are variously and charmingly re-orchestrated. (excerpted from JWP's foreword to the edition)
We provide our transcription of the violin part for alto flute; the piano score is available in the public domain as a free pdf download from imslp.org/.
For additional information about the seven Mozart Mannheim sonatas and their alto flute transcriptions, please read the
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Mozart - Sonata in G Major - Alto Flute
Sonata in G Major, K.301, by W. A. MozartTranscribed for Alto Flute and Piano by John W. Pratt
Alto Flute Part, PDF $4.99
This sunny sonata has two movements, an up-beat Allegro con spirito followed by an Allegro that is actually a sprightly minuet with a trio section in the minor, almost as near to a Beethoven scherzo as a Haydn minuet. The violin leads as often as the piano, including at the beginning and throughout the trio, but is largely spared Mozart's typical keyboard passage work. As with six other violin sonatas composed in 1778, the first of Mozart's maturity, the violin part rarely makes significant use of double stops and is in general very well suited to alto flute. In fact, K.301 was begun with flute in mind. We provide our transcribed alto flute part. The piano score is available in the public domain as a free pdf download from imslp.org/.
For additional information about the seven Mozart Mannheim sonatas and their alto flute transcriptions, please read the
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Mozart – Sonata in E minor – Clarinet (and Piano)
Sonata in E minor, K.304, by W. A. MozartTranscribed for Clarinet (and Piano) by John W. Pratt
Clarinet in A Part, PDF $5.99
Mozart's second group of violin sonatas, the seven "Mannheim" sonatas of 1778, were begun in Mannheim where the composer also worked on a flute commission. The violin parts rarely make significant use of double stops and are in general well suited to a wind instrument. Mozart's works in minor keys are rare and special: consider the G-minor quintet and Symphony No. 40. The K.304 sonata is his only work in E minor and it is mysteriously compelling in its simplicity. Mr. Pratt has created an excellent transcription of the Sonata in E minor, K.304 for A-clarinet. K.304 was written the same summer that Mozart's mother died, an association often pointed to and the inspiration for our cover image selection.Note that Mr. Pratt's transcription offers the advantage of being in the original key, and that we provide the A-clarinet part only. The clarinet part works perfectly with the piano part in Mozart's score for piano and violin, which is in the public domain and readily available
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Schubert - Auf dem Strom - Vo/Cl/Pf
Auf dem Strom, Op.119, by Franz SchubertObbligato transcribed for A-Clarinet by C. A. Vater
Piano Score and Parts for Voice and A-Clarinet, PDF $9.50
The great Austrian composer Franz Peter Schubert (1797-1828) was a master at creating extremely beautiful, melodic, emotional lieder. His song Auf dem Strom (On the River) provided a musical setting for the text of the eponymous poem written by the German poet and music critic Ludwig Rellstab. The lyrics tell the story of a sad parting, of the yearning and loneliness that sets in as the narrator bids farewell to a loved one on shore, while his river journey carries him away towards the sea. The premier performance of Auf dem Strom took place in Schubert’s 1828 public concert, during which the obbligato part was played by Josef Lewy on horn, the instrument for which the obbligato was written and which undoubtedly can provide an appropriately mournful, sentimental character to the piece. However, an alternate obbligato version for cello was also published. Now, with all respect, we provide an A-clarinet version of the obbligato, in expectation that clarinetists will appreciate this addition to the voice/clarinet/piano repertoire. We believe that a well-played clarinet can aptly contribute a suitably complex, dolorous essence
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