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Uncommon Sheet Music for Flute and Alto Flute

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  • Bach - Adagio and Fugue from BWV 564 – arr. Flute Quartet

    Bach BWV564 Fl4 nsm Adagio and Fugue from BWV 564, by J. S. Bach

    Arranged for Flute Quartet by John W. Pratt

    Score and Parts for Flute 1, Flute 2, Alto Flute, and Bass Flute, PDF $21.25

    Among J. S. Bach's big organ works, the Toccata, Adagio, and Fugue, BWV 564 is atypical in ways that make it especially adaptable to transcription for winds, as we noted when transcribing it for woodwind quartet. The middle movement Adagio has an elaborate and gorgeous melody which lies comfortably for flute and can benefit greatly from the shaded, nuanced dynamics and articulations that a solo flutist can provide. The four-part Fugue is unusual, too—light and lighthearted, happily adaptable to woodwinds. The Adagio and Fugue are particularly well-suited to a flute quartet and these (but not the Toccata) are included in John Pratt’s arrangement of the piece for two flutes, alto flute and bass flute. Note that the score is presented with the alto flute line in concert pitch and the bass flute line shown in bass clef so as to easily see the range of all the flutes' notes; in the parts, of course, the alto flute is transposed and the bass flute is in treble clef.

    Score, 10 pages; Flute 1 part, 4 pages; Flute 2 part, 3 pages; Alto Flute part, 3 pages; Bass Flute part, 2 pages; Total, 30 pages.

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  • Bach - Chaconne - Flute or Alto Flute

    Bloom_head_shot_orchid_SilpakornChaconne, BWV 1004, by J. S. Bach

    Transcribed for Flute or Alto Flute by Peter H. Bloom, PDF $9.98

    The Chaconne BWV 1004, originally from Johann Sebastian's Suite in D minor for unaccompanied violin, is among the most challenging, controversial, enigmatic, and magnificent works known. This transcription by Peter H. Bloom was created for unaccompanied alto flute in G or concert flute in C. Mr. Bloom is motivated by an interest in historical performance practice, devotion to the art of improvisation, fascination with the technique of the flute and alto flute, and an abiding love of this masterpiece of Bach's. As well as transposing and digitally engraving the original version of the Chaconne, Mr. Bloom provides practical, effective, and cogent performer's solutions to the many interpretive challenges that occur throughout this work.  

    Flute or Alto Flute part, 10 pages; Total, 12 pages.

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  • Bach - Prelude & Fugue - Wind Quintet

    bach wtc 1 22 ww5.image 240pxPrelude and Fugue, WTC Book I, No.22, by J.S.Bach

    Transcribed for Woodwind Quintet by John W. Pratt, PDF $16.00

    Though written for keyboard, this Prelude and Fugue from Book I of Bach's Well-Tempered Clavier is wonderfully adaptable to an instrumental quintet.  The Prelude, with its serene harmonic pacing, reveals an almost Schubertian sublime beauty, and the magical counterpoint of the five-part fugue emerges crystal-clear.  The challenge for the players, as well as the pleasure, lies in ensemble achievements, not technical difficulties in individual parts.  Scored for Flute, Oboe, B-flat Clarinet, Horn, and Bassoon, with an alternate part for Alto Flute in place of Oboe.  

    Score, 6 pages; Parts, 2 pages each for Flute, Oboe (plus alternate Alto Flute), Clarinet, Horn, and Bassoon; Total, 20 pages.

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  • Bach - Prelude and Fugue, BWV 532 - arr. Woodwind Quartet

    Bach BWV532 WW4 nsmPrelude and Fugue, BWV 532, by J. S. Bach

    Arranged for Woodwind Quartet by John W. Pratt

    Score and Parts, PDF $15.97

    “Among the big Bach organ fugues, BWV 532 is unusually well suited to woodwind quartet.  Written during Bach's early, carefree Weimar period (only four children to support), it is high-spirited and can even be read as witty.  It benefits from having a separate sonority for each voice, especially when the countersubject interjects a perky comment in the subject's empty space.  It has rapid passage work throughout, almost suggesting Mendelssohn—but his chamber music, not his organ music!  It makes almost no significant use of the sheer power of the mighty “king of instruments”; the way the voices are brought in and deployed in itself provides the excitement and variations in volume.  Woodwinds have ample piano and forte capabilities for the purpose.  The Prelude is also readily adapted to woodwind quartet, consisting mainly of a straightforward four-part Alla breve.The Prelude’s brief introductory and concluding material includes pedal scales and other flourishes that are no less effective for being easy to play on winds. // The arrangement here preserves Bach's four voices almost exactly.” — from J. W. Pratt’s foreword to the edition

    Click to listen to computer-generated audio samples from the score; audio clips from the Prelude (m4-22) and the Fugue (m14-27), are separated by a brief pause. 

    Score, 16 pages; Flute part, 5 pages; Oboe part, 6 pages; Bb Clarinet part, 6 pages; Bassoon part, 5 pages;Total, 46 pages.

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  • Bach - Toccata, Adagio, and Fugue - Piano

    JP_at_piano_11.11.10.croppedToccata, Adagio, and Fugue, BWV 564, by J. S. Bach 

    Transcribed for Piano by John W. Pratt, PDF $14.84

    BWV 564 is unusual among Bach's big organ works.  It has a middle movement, an Adagio with an elaborate and gorgeous melody which can benefit greatly from the piano's shaded, nuanced dynamics and articulation.  The fugue, too, is atypical - light and lighthearted, well suited to the piano, with a fading coda that is if anything harder to treat convincingly on the organ than on the piano.  The exuberant Toccata is also highly effective and fun to play on the piano.  

    Piano part, 15 pages; Total, 17 pages.

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  • Bach - Toccata, Adagio, and Fugue - Wind Quartet

    bach bwv564 nsmToccata, Adagio, and Fugue in C major, BWV 564, by J. S. Bach

    Arranged for Woodwind Quartet by John W. Pratt
    Score and Parts for Flute, Oboe, Clarinet, & Bassoon, PDF $21.25

    excerpted from JWP’s © foreword to the edition:
    Among J. S. Bach's big organ works, the Toccata, Adagio, and Fugue, BWV 564 is atypical in ways that make it unusually well suited to transcription for woodwind quartet.  Unlike most, it has a middle movement, an Adagio with an elaborate and gorgeous melody which lies comfortably for flute and can benefit greatly from the shaded, nuanced dynamics and articulations that a solo flutist can provide.  The other winds bring out Bach's beautiful voice-leading in the Adagio's two inner parts and its marching but not martial bass.  The four-part Fugue is unusual, too—light and lighthearted, happily adaptable to woodwinds, with no call for great power and, rather than a climactic ending, a fading coda that defies convincing treatment on the organ. The exuberant Toccata starts with an extended manual solo passage... mostly in 32nd notes, which... I felt it would be more effective as a game of frequent handoffs between instruments than as a series of longer individual études. The pedal solo, mostly 16ths, calls for the extra weight of doubling.

    Click to listen to a computer-generated audio sample from the end of the Toccata into the beginning of the Adagio.

    Score, 17 pages; Flute part, 6 pages; Oboe part, 5 pages; Bb Clarinet part, 5 pages; Bassoon part, 4 pages; Total, 46 pages.

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  • Beethoven - Adelaide - Flute & Piano

    beethoven adelaide nsmAdelaide, by Ludwig van Beethoven

    Anonymous Arrangement for Flute, each edition with a Foreword by P. H. Bloom

    New Edition, Flute Part and Piano Score (flute part in small staff) – PDF $10.50

    Facsimile Edition, Flute Part and Piano Score (original with clarinet part in small staff) – PDF $8.25 

    Beethoven completed his musical setting for Friedrich von Matthison's poem Adelaide in 1796.  The song quickly became a favorite interpretive vehicle for instrumentalists as well as singers.  Clarinetist Iwan Müller's "bel canto" treatment, essentially the original melody with added ornaments, cadenzas, and interpretive notations, remained a favorite among concertizing clarinetists for more than a century.  It's likely that Müller's work informs the anonymous arrangement for flute, published by Diabelli in the second quarter of the 19th century, that we present here....  This anonymous paraphrase of Adelaide is a masterful study of the subtle nuance and passionate restraint of "bel canto" instrumental praxis.  (excerpted from the foreword © by P. H. Bloom)

    After offering our facsimile edition of Adelaide for some time, we decided to create a newly-notated modern edition as well.  We love (and perform) this piece so much, that we didn't want anyone to forgo an opportunity to acquaint themselves with it merely due to the 19th century presentation of the facsimile.  Now, there is a choice between the facsimile edition and a modern edition, the latter of course having the flute part in small staff in the score.

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    Add To Cart Product Name Price
    Beethoven - Adelaide - Facsimile Edition: Clarinet & Piano score, 9 pages; Flute part, 2 pages
    $8.25
    Beethoven - Adelaide - New Edition: Flute & Piano score, 10 pages; Flute part
    $10.50
     

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    We also offer a professionally-printed hard copy edition of Adelaide for $15.75 plus a $5.95 shipping and handling fee to addresses in the USA.  Please use the Contact Us form to let us know which hard copy publication(s) you would like to purchase, along with your email contact information and USPS mailing address.  We will then send you a PayPal invoice for the sale and, once we receive notice from PayPal that you have paid for the item(s), we will ship your music to the address provided.

  • Brahms - Drei Duette - 2 Voices and/or Instruments and Piano

    Brahms Drei-Duette nsmDrei Duette, Op.20, by Johannes Brahms


    Transcribed for Mixed Voice, Instruments, and Piano by John W. Pratt


    Score for Soprano, Alto, and Piano; Transcribed upper voice Parts for Violin/Oboe, Alto Flute, and A-Clarinet; and Transcribed lower voice Parts for Violin/Oboe, Alto Flute, A-Clarinet, and Viola; PDF $12.99

    Composed in 1858–1860, the Drei Duette, Op. 20, for soprano and alto are the earliest of Johannes Brahms' duets and quartets for solo voices and piano. The three songs are titled Weg der Liebe (1. Teil), Weg der Liebe (2.Teil), and Die Meere. Except for brief canonic passages in No. 1, the voices have the same words, sung simultaneously, mostly in parallel thirds and sixths. The accompaniments are straightforward, without Brahmsian ensemble challenges but not without harmonic interest. Many have found the songs Mendelssohnian. The words come from the collection Stimmen der Völker of Johann Gottfried Herder (1744–1803). The first two are translations by Herder of two parts of a Northern English folk poem Love will find out the Way. The third is Italian in origin.

    The vocal parts lie well for many instruments, opening the possibility of mixed voice and instrument, as well as fully-instrumental, performances. If one voice is replaced by an instrument, no words will be lost and the result will be a song with wonderful instrumental obbligato and piano accompaniment. If two instruments are used, the result is a beautiful "song without words." We include in our edition transcriptions of both voices for oboe/violin, alto flute in G, and clarinet in A, and of the lower voice for viola as well. Our transcriptions provide slurs to suggest a vocal style to instrumental players and to facilitate coordination of the instrumental parts with those of the voices. We also provide a re-notated piano/vocal score, in which repeat signs are used in the second and third songs to save page turns, rather than writing out the multiple stanzas as in the original. For those needing only the piano/vocal score, the Breitkopf & Härtel edition is in the public domain and freely available on imslp.org.

    Piano/Vocal Score, 10 pages; Instrumental Parts, 3 pages each; Total, 42 pages.

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  • Brahms - Trio in A Minor - Alto Flute

    brahms with new caption jpgTrio in A Minor, Op.114, by Johannes Brahms

    Transcribed for Alto Flute, Cello, and Piano by Carol A. Vater

    Alto Flute Part, PDF $5.99

    Johannes Brahms (1833-1897) composed the Trio in A Minor for Clarinet, Cello and Piano in 1891 and subsequently created an alternate arrangement in which viola was substituted for the clarinet. The expressive qualities, range, and rich, dark tones of the alto flute are well-suited to this beloved piece.  In creating this transcription of the clarinet part for alto flute, every effort has been made to maintain the spirit and character of the original composition.  We provide here the Brahms Trio in A minor alto flute part; the piano and cello parts are readily available in the public domain as free pdf downloads of the original score and parts.  Here is a link to one such source:  Piano Score and Cello Part 

    Alto Flute part, 13 pages; Total, 15 pages.

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  • Brahms - Two Songs, Op.91 - Clarinet

    brahms op.91 nsmTwo Songs, Op.91, by Johannes Brahms

    Transcribed for Clarinet by John W. Pratt (part originally for viola)

    Clarinet Part, PDF $6.99

    The two chamber music songs of Brahms' Zwei Gesänge, Op.91 were composed specifically for his dear friends, the violinist/violist Joseph Joachim and the mezzo-soprano Amalie Schneeweiss, who were married in 1863.  The songs (for alto, viola, and piano) were written over 20 years apart, but Brahms published them together as Op.91 in 1884.

    "Gestillte Sehnsucht", which appears first in the Op.91 pairing, was actually written second, in 1884.  The song sets the text of the poem by Friedrich Rückert (1788-1866).  "Gestillte Sehnsucht" is a nature poem, filled with images of forests at sunset, gentle breezes, and twittering birds.  Rückert is famous not only for his exquisite poems themselves but also for the great inspiration his work provided to numerous prominent composers, in addition to Brahms.  "Geistliches Wiegenlied" (Sacred Cradle Song) was first composed in 1863-1864, and later revised.  The viola opens with the melody of the medieval Christmas carol "Joseph, lieber Joseph mein."  The singer has her own variation of the melody, and enters after the first stanza of the viola's carol.  The song is a beautiful cradle-rocking lullaby, in 6/8 time.

    It is said that the viola was Brahms' favorite stringed instrument, and the composer gave the viola a major role in both of these songs, allowing it to open both pieces before the singer enters.  Clarinetists have long coveted these viola parts, and various performances have provided clear evidence that a successful outcome can be achieved with the substitution of a clarinet for the viola in Op.91.  So when a clarinetist friend of ours asked us to create a transcription for him, we gladly obliged.  Our edition of the clarinet part adapts the first song, "Gestillte Sehnsucht", for clarinet in A, and the second, "Geistliches Wiegenlied", for clarinet in Bb.  The original piano score and voice part are in the public domain, readily available as free PDF downloads from IMSLP.org.

    Clarinet part, 4 pages; Total, 8 pages.

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  • Brahms - Var. on a Theme of R. Schumann - Piano

    brahmsVariations on a Theme of Robert Schumann, Op.23, by J. Brahms

    Transcribed for Piano Solo by John W. Pratt, PDF $19.75

    Brahms wrote his beautiful Variationen über ein Thema von Robert Schumann for piano four hands, but essentially all the musical ideas are captured in this transcription for solo piano. The variations range from delicately decorative to spectral to warmly Brahmsian to bravura and even witty. The last, suffused with sadness, solemnity, resignation, and reaffirmation, combines a funeral march with the theme, which is known as Schumann's last idea because it came to him at night shortly before his attempted suicide and final commitment to an asylum. 

    Piano score, 21 pages; Total, 23 pages.

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  • Brahms – Variationen über ein Thema von Robert Schumann – Pf, Fl, Ob, Cl, Bn

    Brahms Op23 pno ww4 nsmVariationen über ein Thema von Robert Schumann, Op.23, by Johannes Brahms

    Arranged for Piano, Flute, Oboe, Clarinet, and Bassoon by John W. Pratt

    Piano Score and Wind Parts, PDF $16.99

    - adapted from John W. Pratt’s foreword to the edition: Brahms’s Variations on a Theme by Robert Schumann, Op.23, were written in tribute to his friend, for piano four hands.  Yet how often have you heard this exquisite masterpiece, in any form?  Arranging it as a quintet for piano and winds allows realization of its implicit orchestral effects and incorporation of contrasting and beautiful woodwind sonorities while preserving its many special piano sonorities and its personal, chamber music qualities and will, hopefully, encourage performance.  The variations range from delicately decorative (Var. I) to spectral (IV) to warmly Brahmsian (many) to bravura (IX) and even perhaps witty (V and VII).  The final variation (X) is an amazing valedictory, a funeral march which becomes combined with the theme and is suffused throughout with sadness, solemnity, resignation, and reaffirmation, by turns and even simultaneously.  Especially apt contributions by the woodwinds in this arrangement include, to mention just two, the appreciative chuckles accompanying the rollicking theme of Var. V and the chorale effect at the end of Var. X.  At the same time, the arrangement allows the piano to fulfill its usual roles in chamber ensembles and to contribute some special colorings of its own, including the multi-octave filigree of Var. I, the layout of the accompaniments in the first part of Var. III and last part of Var. V, the bass rumbles of Var. IV and Var. X, and the two-hand octaves in Var. VI and Var. IX.

    Listen to a computer-generated audio clip of the Theme; of course, real live instruments will sound even better: 

    The Preview below is a page of the score from Var. VI. Note that the score is presented in concert pitch.

    Score, 28 pages; Flute, Oboe, B-flat Clarinet, and Bassoon parts, 4 pages each; Total, 48 pages.

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  • Brahms ― Sonata, Op.120 No.1 ― Alto Flute

    Brahms-Sonata-Op120-1 Afl nsmSonata, Op.120 No.1, by Johannes Brahms

    Transcribed for Alto Flute by J.W.Pratt

    Alto Flute Part, PDF $8.99

    Although written originally for clarinet, Brahms himself created two more versions of his Op.120 sonatas, for violin and viola. John W. Pratt, who transcribed these works for alto flute so expertly, writes in his foreword: "If Brahms was happy with versions for clarinet, viola, and violin, surely he would have welcomed arrangements for alto flute, especially since it is the mellow rather than the clarion aspect of the clarinet that he called on. In making our arrangements for alto flute, the violin versions have been particularly helpful, since the violin has the same lower range as the alto flute, but they required modification for several reasons. One, of course, is that the alto flute cannot play as loudly at the bottom of its range as the violin can. Another is that Brahms gave the violin double stops even though the clarinet is limited to a single voice." Our editions of the two Op.120 sonatas include only the alto flute parts, as Brahms' piano scores are freely available in the public domain. Here is a link to the listing of Op.120 No.1 on IMSLP.org, where the clarinet, viola, and violin versions with piano scores may be found. Our alto flute arrangements are based on the usual piano parts that accompany the clarinet as the solo instrument. The entire transcription of Op.120 No.1 works remarkably well, but the breathtakingly beautiful slow movement played on alto flute will steal your heart away.

    Alto Flute part, 9 pages; Total 14 pages.

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  • Brahms ― Sonata, Op.120 No.2 ― Alto Flute

    Brahms Op120 No2 Afl nsmSonata, Op.120 No.2, by Johannes Brahms

    Transcribed for Alto Flute by J.W.Pratt

    Alto Flute Part, PDF $8.99

    This is the second of Brahms' two clarinet sonatas, transcribed for alto flute by John Pratt.  Although written originally for clarinet, Brahms himself created two more versions of his Op.120 sonatas, for violin and viola. Mr. Pratt, who transcribed these works for alto flute so expertly, writes in his foreword: "If Brahms was happy with versions for clarinet, viola, and violin, surely he would have welcomed arrangements for alto flute, especially since it is the mellow rather than the clarion aspect of the clarinet that he called on. In making our arrangements for alto flute, the violin versions have been particularly helpful, since the violin has the same lower range as the alto flute, but they required modification for several reasons. One, of course, is that the alto flute cannot play as loudly at the bottom of its range as the violin can. Another is that Brahms gave the violin double stops even though the clarinet is limited to a single voice." Our editions of the two Op.120 sonatas include only the alto flute parts, as Brahms' piano scores are freely available in the public domain. Here is a link to the listing of Op.120 No.2 on IMSLP.org, where the clarinet, viola, and violin versions with piano scores may be found. Our alto flute arrangements are based on the usual piano parts that accompany the clarinet as the solo instrument.

    Alto Flute part, 8 pages; Total, 12 pages.

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  • Bruch - Eight Pieces - Alto Flute

    JDCAVJP composite01smaller.from JD 11.17.10Acht Stücke, Op.83, by Max Bruch

    Transcribed for Clarinet, Alto Flute, and Piano by Davies, Pratt, and Vater

    Alto Flute Part, PDF $9.98

    Originally scored for clarinet, viola, and piano (or violin, cello, and piano), Bruch's Acht Stücke (Eight Pieces) adapts nicely for a trio with clarinet, alto flute, and piano. Bruch's beautiful melodies are well served by the rich tones of the alto flute. 

    In creating this transcription of the viola part for alto flute, we have taken great care to maintain the spirit and character of the original instrumentation.  We provide here the alto flute part.  The piano and clarinet parts are readily available in the public domain as free pdf downloads of the score and parts.  Here is a link to one such source:  Piano Score and Clarinet Part

    Alto Flute part, 17 pages; Total, 19 pages.

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  • Danzi - Grande Sonate - Piano & Basset Horn

    Danzi Op62 bh pf nsmGrande Sonate, Op.62, by Franz Danzi

    for Piano and Basset Horn; re-notated, edited, and with occasional ossia elaborations suggested by John W. Pratt

    Piano Score and Basset Horn Part, PDF $13.99

    Franz Danzi (1763-1826) was an active musician, cellist, and teacher in Mannheim, Munich, Stuttgart, and Karlsruhe. A prolific composer, especially of music for the stage and chamber music from keyboard solos to sextets, he revered Mozart and mentored Weber. His wind quintets are notable. His Grande Sonate, Opus 62, for piano and basset horn, was published about 1823, along with an alternative cello part which sometimes differs from the basset horn part in other ways than octave transposition. // The original publication of Danzi’s Opus 62 is available at imslp.org., but there is no full score and the parts are hard to play from, or sometimes even to read at all, lack measure numbers, have a few errors, and differ in the number of measures in the last two movements. We have therefore prepared a full score including the basset horn in concert pitch, to facilitate checking the fit of the basset horn and piano lines and our transcriptions for other instruments against the original.  — excerpted from John Pratt’s foreword to the edition

    Piano Score, 28 pages; Basset Horn part, 7 pages; Total 40 pages.

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  • Danzi - Grande Sonate - Piano & Flute

    Danzi Op62 fl pf NSMGrande Sonate, Op.62, by Franz Danzi

    transcribed for Piano and Flute by John W. Pratt

    Piano score and Flute part, PDF $14.99

    excerpted from John Pratt’s foreword to the edition: 'Franz Danzi (1763-1826) was an active musician, cellist, and teacher in Mannheim, Munich, Stuttgart, and Karlsruhe.  A prolific composer, especially of music for the stage and chamber music from keyboard solos to sextets, he revered Mozart and mentored Weber.  His wind quintets are notable.  His Grande Sonate, Opus 62, for piano and basset horn, was published about 1823, along with an alternative cello part which sometimes differs from the basset horn part in other ways than octave transposition. // The sound of the basset horn varies widely, depending on its construction, who is playing, what is being played, and who is describing it.  George Bernard Shaw said, ''The devil himself could not make a basset horn sparkle.''  Burnet Tuthill, in Cobbett's Cyclopedic Survey of Chamber Music (1929), wrote of its "soft mellow timbre of rich beauty.”  E.T.A. Hoffmann likened its sound to the scent of red carnations (see Georgina Dobré, The Basset Horn,who says, pace Shaw, “Sparkle it certainly can!”).  That tent is broad enough to cover the characteristics of both the flute and the clarinet comfortably, and Danzi’s Grande Sonate alternates sparkle and mellow rich beauty in large measure.'  Since we at NSM have grown quite fond of this piece, we decided to transcribe it for both flute and clarinet, so we and our friends could enjoy playing it.  We offer here the flute edition, with a version for clarinet to follow in the coming weeks.

    Piano score, 28 pages; Flute part, 7 pages; Total 40 pages.

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  • Danzi - Grande Sonate - Piano and Clarinet

    DanziOp62Cl nsmGrande Sonate, by Franz Danzi

    transcribed for Piano and Clarinet by John W. Pratt

    Piano score and B♭ Clarinet part, PDF $14.99

    Danzi’s Grande Sonate, Opus 62, written for piano and basset horn, was published around 1823, along with an alternative part for cello. Please see additional information about this piece in the article describing our re-notated basset horn edition. The Grande Sonate comprises four movements and provides both sparkle and mellow rich beauty. It is nicely adaptable to other winds, particularly the clarinet. Certain passages in the final movement of the original work seem to invite elaboration or improvisation by the solo instrument, and arranger John Pratt offers suggestions for possible additions or alternatives for the clarinet, making it even more fun to play.

    Piano Score, 28 pages; B♭ Clarinet Part, 7 pages; Total, 40 pages.

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  • Fürstenau - Adagio et Rondo Brillant - Fl & Pf

    Furstenau Adagio-Rondo nsmAdagio et Rondo Brillant, Op.95, by A. B. Fürstenau

    Gassett Collection - Facsimile Edition by C.A.Vater/Noteworthy Sheet Music with a Foreword by Peter H. Bloom

    Flute Part and Piano Score, PDF $12.00

    Anton Bernhard Fürstenau (1792-1852) was among the most revered flutists of the 19th century.  Following his appointment to the post of principal flute for the Royal Chapel at Dresden in 1820, Fürstenau became a valued colleague and close personal friend of the court's music director, Carl Maria von Weber.  The influence of Weber's dramatic melodic gestures and edgy harmonic shifts can be heard in this passionately evocative Adagio et Rondo Brillant.  An NSM favorite!  

    For additional information about the Gassett Collection, please see see our article An Introduction to the Gassett Collection.

    Piano score, 12 pages; Flute part, 4 pages; Total, 20 pages.

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  • Gabrielsky - Adagio et Variations - Fl & Pf

    Gabrielsky_Op.71_imageAdagio et Variations pour la Flûte sur un Thême de Caraffa, Op. 71, by W. Gabrielsky

    Gassett Collection - New Edition by Noteworthy Sheet Music

    Flute Part and Piano Score, PDF $18.75

    Johann Wilhelm Gabrielski (or Gabrielsky), 1795-1846, was an acclaimed German flutist and composer from Berlin.  In 1814 Gabrielski secured a position as flutist at the theatre in Stettin and within two years was appointed to the Royal Court.  Gabrielski's compositions, of which there are more than 100, were highly esteemed and popular in his day.  Although these works have much to offer modern day flutists as well, Gabrielski's music is neither widely known nor readily available today.  The Adagio et Variations pour la Flûte, Op. 71, exploits melodic material by Michele Enrico Carafa (Caraffa) di Colobrano (1787-1872), a Naples born musician who had a remarkably successful career in Paris as a composer for the Opéra-Comique and as a professor of composition and counterpoint at The Conservatoire.  The work showcases the flutist's virtuosity, atop a relatively uncomplicated piano accompaniment.  

    For additional information about the Gassett Collection, please see see our article An Introduction to the Gassett Collection.

    Flute part, 11 pages; Piano Score, 16 pages; Total, 31 pages. 

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