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Uncommon Sheet Music for Flute and Alto Flute

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Austrian

Scores with at least one part for horn.
  • Dressler - Portrait Charmant - Flute (or Vn) & Piano


    dressler portrait charmant nsmPortrait Charmant, by Raphael Dressler

    Gassett Collection - Facsimile Edition by C.A.Vater/Noteworthy Sheet Music

    Part for Flute or Violin and Piano Score, PDF $3.00

    Raphael Dressler (1784-1835) was a well-known Austrian flutist and composer.  He wrote more than 100 compositions for flute and published a popular flute method book, New and Complete Instructions for the Flute.  His career included a position as first flutist in the Kärntnerthor Theater orchestra in Vienna and many years as a teacher and performer in London.  Dressler's Portrait Charmant is the fifth of his Douze Thèmes Favoris pour Pianoforte et Flûte (ou Violon).  The piece is a short work, simple yet indeed charming, and playable by flutists (or violinists) and pianists of many skill levels.  A favorite of ours, Portrait Charmant can also be played effectively as a solo work for flute or violin alone.

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

    Piano score, 3 pages; Flute or Violin part, 1 page; Total, 8 pages.

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  • Haydn - Adagio from Sym. No.24 - Afl & Pf

    haydn.sym24.afl image 240pxAdagio from Symphony No.24, by F. J. Haydn

    Arranged for Alto Flute and Piano by John W. Pratt

    Alto Flute Part and Piano Score, PDF $6.00

    We offer a flute and piano edition of the gorgeous second movement Adagio for solo flute accompanied by strings from Haydn's Symphony No.24. An arrangement for alto flute that is mellower than that for flute but also extremely beautiful is obtained by lowering the pitch a minor third. Haydn's flute part needs no other change, nor does the cadenza that was written by Mr. Pratt for our C-flute edition. The string parts have been adapted to piano sonority in a number of ways, as well as transposing them in this alto flute edition. 

    Alto Flute part, 2 pages; Alto Flute & Piano score, 4 pages; Total, 10 pages.

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  • Haydn - Adagio from Sym. No.24 - Flute & Piano

    Haydn_Adagio_image_rAdagio from Symphony No. 24, by F. J. Haydn

    Arranged for Flute and Piano by John W. Pratt

    Flute Part and Piano Score, PDF $6.00

    Franz Joseph Haydn (1732-1809) wrote his Symphony No. 24 in 1764. The second movement is a beautiful Adagio for solo flute accompanied by strings, with a place for a cadenza.  We offer here a piano transcription of the string accompaniment, with appropriate adaptations in sonority, and the flute part with a written cadenza based closely on Haydn's material and style.  Players will find the resulting one-movement flute sonata both affecting and highly rewarding. 

    Flute part, 2 pages; Flute & Piano score, 4 pages; Total, 10 pages. 

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    We also offer a professionally-printed hard copy edition of the Haydn Adagio for $13.49 plus a $5.95 shipping and handling fee. Due to prohibitively high international shipping rates, we ship print editions only 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 for delivery in 7-10 business days.

  • Haydn - Adagio, Quartet Op.17, No.1 - Afl & Pf

    Haydn Op17No1 Adagio nsmAdagio from Quartet in E Major, Op.17, No.1, by F. J. Haydn

    Transcribed for Alto Flute and Piano by John W. Pratt

    Alto Flute Part and Piano Score, PDF $8.00

    Haydn's early quartets, especially the three sets of six written between 1768 and 1771 (Opus 9, Opus 17, and Opus 20), advanced the development of the classical string quartet enormously in all respects. The third movement of Opus 17, No. 1 is an Adagio with a beautiful violin melody that is harmonized simply by the other three strings. Whereas Haydn's more complex movements generally are unsuitable for transcription, the relative simplicity of this gorgeous Adagio makes it an exception. We present here a transcription for alto flute and piano. The melody is highly effective on the alto flute, and the other string parts are readily adaptable to the piano.   

    Alto Flute part, 2 pages of music; Piano score, 6 pages; Total, 12 pages. 

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  • Haydn - Adagio, Quartet Op.17, No.2 - Afl & Pf

    haydn_op17_2_image-webAdagio from Quartet in F Major, Op.17, No.2, by F. J. Haydn 

    Transcribed for Alto Flute and Piano by John W. Pratt

    Alto Flute Part and Piano Score, PDF $8.00

    The third movement of Haydn's Opus 17, No. 2, like that of Opus 17, No. 1, is an Adagio with a beautiful violin melody that is harmonized simply by the other three strings.  The melody is compelling on alto flute, with just a few changes to accommodate its sonic differences from the violin.  Lest the effect be too placid when the lower string parts are transferred to the piano, our piano transcription elaborates them in the style of Haydn's keyboard music in several places.  We also incorporate a few changes for better sonority and to disentangle the voices where the string parts have overlaps and unisons that are poorly suited to the piano.  All told, this transcription is highly effective and a delight for both players.  

    Alto Flute part, 2 pages of music; Piano score, 6 pages of music; Total, 12 pages.

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  • Haydn - Adagio, Quartet Op.20, No.5 - Fl & Pf

    Title_page_image_for_websiteAdagio from Quartet in F Major, Op.20, No.5, by F. J. Haydn

    Arranged for Flute and Piano by John W. Pratt

    Flute Part and Piano Score, PDF $10.00

    The third movement of Haydn's string quartet Opus 20, No. 5 is an Adagio with a simple melody that is treated to delightful filigreed elaboration and obbligato decoration by the violin.  Although more complex quartet movements are typically unsuited to transcription, in this beautiful Adagio the soloistic nature of the violin part and the simplicity of the lower string parts lend themselves very well to an arrangement for flute and piano, as in the fine transcription we offer here.  

    Flute part, 3 pages of music; Piano score, 7 pages of music; Total, 14 pages.

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  • Haydn - Early Sonatas - arr. as Wind Duos

    Haydn HobXVI FlBn1 nsmEarly Sonatas, by Franz Joseph Haydn

    Arranged as Woodwind Duets by John W. Pratt (originally for keyboard)

    Even the earliest of Franz Joseph Haydn’s keyboard sonatas have great rhythmic variety and vitality, and are delightful when played with verve. They are mostly in two voices, and even where not, their early classical harmonies are easily conveyed by two instruments. They incorporate few pianistic effects and lie comfortably within range for flute or oboe and bassoon or clarinet, and thus make natural woodwind duets of lively, interesting music. All these editions include a score and parts.  Those wishing to consult the keyboard editions of the Haydn sonatas, from which Mr. Pratt created his arrangements, can find them at imslp.org(Adapted from J. W. Pratt’s preface to the edition.)

    Cover image “Decorations of the Sala Terrena, Eszterházy Palace in Fertőd, Hungary“ by Monyesz, Creative Commons Attribution-Share Alike 3.0 Unported license.

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    ►Early Haydn Sonatas arranged by John W. Pratt as Duets for Flute and Bassoon, Vol. 1, Nos. 1-7
    Haydn HobXVI FlBn1 fwThis edition includes seven of Haydn's early keyboard sonatas arranged as duets for flute and bassoon. John Pratt's creation of these duets was inspired by a desire to offer two of his music colleagues some new music to enjoy, as they had exhausted their available flute and bassoon duo repertoire. These duets work nicely for winds and are fun to play.  For a sense of how they sound when played by flute and bassoon, click below to listen to a computer-generated audio excerpt: the first 45” of the recording come from the Andante of Sonata 5 (Hob. XVI:11), followed by 25” of the Sonata 6 (Hob. XVI:10) Presto.  Alternatively, the flute part can be played on oboe, making these sonata arrangements nicely amenable to oboe and bassoon duos as well.
    Score, 26 pages; Flute part, 14 pages; Bassoon part, 11 pages; Total, 54 pages; PDF $14.75
     
    Preview: Vol.1, Nos. 1-7, Flute and Bassoon

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    Haydn HobXVI FlCl1 fw►Early Haydn Sonatas arranged by John W. Pratt as Duets for Flute and B-flatClarinet, Vol. 1, Nos. 1-7        
    Please see the description above for Volume 1 of Haydn’s early keyboard sonatas arranged as duets for flute and bassoon. Our flute and clarinet edition of Vol. 1 contains the same seven sonatas, here arranged for flute (or oboe) and B-flat clarinet. Click to listen to a computer-generated audio clip of two excerpts: the first 27” of the recording come from the Andante of Sonata 1 (Hob. XVI:8), followed by 26” of the Scherzo from Sonata 3 (Hob. XVI:9).
    Score, 26 pages; Flute part, 14 pages; Clarinet part, 11 pages; Total, 54 pages; PDF $14.75

    Preview: Vol.1, Nos. 1-7, Flute and Clarinet

    Add To Cart Product Name Price
    Haydn - Early Sonatas arranged as Duets for Flute & Bassoon, Vol. 1
    $14.75
    Haydn - Early Sonatas arranged as Duets for Flute & Clarinet, Vol. 1
    $14.75

  • Haydn - Fantasia in C Major - Flute & Alto Flute

    haydn fantasia image 240pxFantasia in C major, by F. J. Haydn

    Arranged as a Duet for Flute and Alto Flute by John W. Pratt

    Flute Part, Alto Flute Part, and Score ― PDF $12.99

    Fantasia in C major (Op.58; Hob. XVII:4) was written by Haydn in 1789 for the pianoforte.  Based on a folk song about a farmer's wife chasing her cat, one can easily imagine in the music kittenish scampering, stealthy approaches, unexpected pounces, and mad chases with abrupt changes of direction.  The style and playfulness of the piece are beautifully suited to the agility and sparkle of flutes.  The transcription is able to capture the feel Haydn intended, with new coloring, while at the same time affording flutists the joy of experiencing the work first-hand.  (adapted from JWP's foreword to the edition)

    Please click the Preview button to see p1-2 of the mini-Score (in concert pitch).  After opening the file, adjust the orientation using "View - Rotate View - Clockwise" in your pdf reader program.

    Flute part, 6 pages; Alto Flute part, 7 pages; Mini-score, 6 pages; Total, 22 pages. 

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  • Haydn - Fantasia in C Major - Flute & Clarinet

    haydn.fantasia flcl cover nsmFantasia in C major, by F. J. Haydn

    Arranged as a Duet for Flute and Clarinet by John W. Pratt

    Flute Part, A Clarinet Part, and Mini-Score ― PDF $12.99

    Fantasia in C major (Op.58; Hob. XVII:4) was written by Haydn in 1789 for the pianoforte.  Based on a folk song about a farmer's wife chasing her cat, one can easily imagine in the music kittenish scampering, stealthy approaches, unexpected pounces, and mad chases with abrupt changes of direction.   The style and playfulness of the piece lend themselves well to flute and clarinet.  The transcription is able to capture the feel Haydn intended, with new coloring, while at the same time affording flutists and clarinetists the joy of experiencing the work first-hand. (adapted from JWP's foreword to the edition)

    Flute part, 6 pages; Clarinet in A part, 6 pages; Mini-score in concert pitch, 6 pages; Total, 24 pages.

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  • Haydn - Trio, Hob. XV:18 - arr. Woodwind Quartet

    Haydn XV18 WW4 nsmTrio, Hob. XV:18, by Franz Joseph Haydn

    transposed to B-flat major and arranged for Woodwind Quartet by John W. Pratt

    Score and Parts for Flute, Oboe, B-flat Clarinet, and Bassoon; PDF $20.97

    As noted in the arranger’s forward to the edition, the later piano trios of Franz Joseph Haydn (1732-1809) are superb music, but because they were written for excellent pianists and weak string players, they are dominated by the piano part. This imbalance among the parts actually makes the trios highly amenable to and effective in arrangement for woodwind quartet. Written after Haydn’s first visit to London, the Piano Trio in A major, Hob. XV:18, was first published in 1794. The first of its three movements, a flowing Allegro moderato, is unified by ingenious use of the three-note motif opening its cantabile main theme. The lovely middle Andante, in ABA form and 6/8 meter, features some luxurious ornamentation and proceeds attacca to the spirited and humorous Allegro finale. The resources of a woodwind quartet are well suited to the musical ideas of this trio, and the arrangement adapts Haydn’s piano, violin, and cello lines wonderfully to the range and sonority of the instruments used: flute, oboe, B-flat clarinet, and bassoon. This adaptation is facilitated by transposition from Haydn’s original key of A major to B-flat major. We provide parts plus a score in concert pitch.

    Click to listen to computer-generated audio samples from the score; audio clips from movements I (m44.4 - m64.3), II (m0 - m4.5 & m49.6 - m54.5), and III (m36.2.2 - m48) are separated by brief pauses.

    Score in concert pitch, 21 pages; Flute part, 8 pages; Oboe part, 6 pages; B♭-Clarinet part, 5 pages; Bassoon part, 5 pages; Total, 52 pages.

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  • Haydn - Trio, Hob. XV:25 ‘Gypsy’ - arr. Woodwind Quartet

    Haydn XV25 WW4 nsmTrio, Hob. XV:25 ‘Gypsy’, by Franz Joseph Haydn

    arranged 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 A.  Some players may wish to use the A-clarinet only in the second movement, for the sake of the friendlier key signature and perhaps also for sound, depending on the instrument.

    Click to listen to computer-generated audio samples from the score; audio clips from movements I (m42-48, m72-78), II (m57-63), and III (168-190) are separated by brief pauses. 

    Score in concert pitch, 17 pages; Flute part, 6 pages; Oboe part, 4 pages; B♭-Clarinet part, 6 pages; Bassoon part, 4 pages; alternative part for A-Clarinet, 6 pages; Total, 56 pages.

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  • Haydn – Adagio from Symphony No.24 – trans. Solo Flute and Flute Choir

    Haydn Sym24 flch nsmAdagio from Symphony No.24 by F. J. Haydn

    Transcribed 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 edition

    Listen to a computer-generated audio sample. 

    Score, 5 pages; Parts for Solo Flute, 2 pages; Flutes 1 and 2, 2 pages; Alto Flute, 1 page; Bass Flute/Contrabass Flute, 1 page; Total 19 pages.

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  • Haydn – Hob. II:21 – arr. Flute Quartet

    Haydn HobII21 nsmDivertimento No. 1 (Hob. II:21; Op. 2 No. 3) by Franz Joseph Haydn

    Arranged 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 alto flute ranges and makes the violin parts if anything more comfortable for C flutes.”

    There are 5 movements in total: I-Allegro molto, II-Minuet, III-Adagio, IV-Minuet, and V-Finale Allegro. To get some sense of how the Op. 2 No. 3 quartet works with flutes in lieu of strings, listen to this computer-generated audio clip of the first movement—realizing it will of course sound considerably better played in-person on real instruments, post-pandemic.

    Score, 11 pages; Flute 1 part, 6 pages; Flute 2 part, 6 pages; Alto Flute part, 5 pages; Bass Flute part, 5 pages; Total, 38 pages.

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  • Haydn – Hob. II:22 – arr. Flute Quartet

    Haydn HobII22 nsmDivertimento No. 2 (Hob. II:22; Op.2, No.5) by Franz Joseph Haydn

    Arranged 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. 

    Score, 10 pages; Flute 1 part, 4 pages; Flute 2 part, 4 pages; Alto Flute part, 4 pages; Bass Flute part, 3 pages; Total, 28 pages.

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  • Haydn – Symphony 13 - arr. for Multiple Flutes

    Haydn Sym13 multiflute nsmSymphony 13, by Franz Joseph Haydn

    Arranged 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

    mozart k412 image 240 pxConcerto 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.   

    Alto Flute part, 4 pages of music; Total, 8 pages. 

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  • Mozart - Concerto in E-flat major, K417 - Alto Flute & Piano

    mozart k417 nsmConcerto No.2 in E-flat major, K.417, by W. A. Mozart

    Transcribed 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 pages; Total, 22 pages.

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  • Mozart - Concerto in Eb Major, K.447 - Alto Flute

    mozart k.447 nsmConcerto in E-flat Major, K.447, by W. A. Mozart

    Transcribed 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 Breitkopf und Härtel, n.d. (ca. 1890).  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.

    Alto Flute part, 5 pages; Total, 8 pages.

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  • Mozart - Concerto in Eb Major, K.495 - Alto Flute

    mozart k.495 nsmConcerto in E-flat Major, K.495, by W. A. Mozart

    Transcribed 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.

    Alto Flute part, 7 pages; Total, 10 pages.

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  • Mozart - Kegelstatt Trio - Alto Flute

    Mozart Kegelstatt Afl nsm"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 $7.99

    As 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 free of charge from IMSLP.org as good quality PDFs.


    Alto Flute part, 6 pages; Total, 10 pages.

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