Noteworthy News

John Pratt’s latest project is a flute quartet arrangement of the finale fugue from Haydn’s string quartet Op.20 No.2.  The movement is energetic, offers a nice distribution of activity among the parts, and is fun to play.

D’Indy composed his Choral Varié pour Saxophone solo (ou Alto) et Orchestre in 1903, and also created his own orchestral reduction arrangement for alto saxophone (or viola) and piano.  The piece is appealing and distinctive, solemn and tender, and adapts nicely to the alto flute, highlighting the beautiful, intimate quality of that instrument’s low-register tones.  Read more about the Choral Varié solo part transcribed for alto flute on our listing page.

The divertimento style and instrumental character of Haydn’s early quartets does not necessarily evoke strings, and thus arrangement for other instruments is natural and might expand enjoyment of these wonderful first significant Haydn works to other players and audiences.  Haydn’s Quartet Op.1, No.1 has been arranged by John W. Pratt as an effective clarinet quartet for either three Bb-clarinets and bass clarinet, or two Bb-clarinets, alto Eb-clarinet and bass clarinet.

Frank Bridge composed his Three Songs for Voice, Viola, and Piano in 1906-1907, setting to music one poem each by Matthew Arnold, Heinrich Heine, and Percy Bysshe Shelley.  Both the poetry and the music are highly emotional and address the various stages of grief one feels after losing a loved one.  Check out our new clarinet transcription to discover how tastefully a clarinet can substitute for the original viola line in this poignant work by a composer who should be better known.

Beach composed her Romance for Violin and Piano in 1893 for the occasion of the Women’s Musical Congress held the same year in Chicago during the World’s Columbian Exposition.  The piece was dedicated to the celebrated violinist Maud Powell, who joined Beach for the premiere performance at that Congress.  Highly romantic, melodic, charming, and passionate, the Romance is also technically complex yet graceful.  With a few modifications of the violin line, this gorgeous piece works nicely for flute and piano.

Performances of the Mozart C-major quintet K.515, originally for strings, are infrequent, far less than such great music deserves.  Adaptation of the work to flute quintet is thus particularly apropos, as its textural possibilities apply also to a flute quintet.  For additional information about John Pratt’s new arrangement of K.515 for two concert flutes, two alto flutes, and bass flute, please visit our listing page.