piano
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Berbiguier - Grande Fantaisie - Flute & Piano
Grande Fantaisie, Op. 77, by T. BerbiguierGassett Collection - Facsimile Edition by C.A.Vater/Noteworthy Sheet Music, with a Foreword by Peter H. Bloom
Flute and Piano Parts, PDF $16.99
Benoit Tranquille Berbiguier (1782-1838) was among the preeminent European flutists of the early nineteenth century. Berbiguier was a prolific composer, and his nearly 150 published works include sets of duos and trios for flutes, as well as music that features flute with piano, orchestra, and chamber ensembles. His Grande Fantaisie avec Variations pour Flûte avec Accompagnement de Piano Forte (Opus 77) was composed on two motifs from Der Freischütz, Carl Maria von Weber's monumental opera which premiered in Berlin in 1821 and became an immediate international sensation. Sheet music for flute and piano.
For additional information about the Gassett Collection, please see see our article An Introduction to the Gassett Collection.
Piano part, 9 pages; Flute part, 8 pages; Total, 24 pages.
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Berbiguier - Les Regrets - Flute & Piano
Les Regrets, Op.104, by T. BerbiguierGassett Collection - Facsimile Edition by C.A.Vater/NSM, with a Foreword by Peter H. Bloom
Flute Part and Piano Score, PDF $18.00
Berbiguier dedicated Les Regrets (Mélodie Concertante, Opus 104) to his close friend, the composer-'cellist Pierre-Louis Hus-Desforges. Les Regrets appears to be a missive of consolation from one musical colleague to another, both disillusioned and scarred veterans of decades of nationalist French intrigue. Though the initial theme is a plaintive rendering of a dour dead-march, its development is mournfully elegant. The subsequent developments serve to uplift performer and listener with a musical meditation that, though turbulent, avoids bathos. Dashes of a bit of scherzo here and there move the music, ultimately, to an heroic major-key finale.
For additional information about the Gassett Collection, please see see our article An Introduction to the Gassett Collection.
Piano score, 18 pages; Flute part, 6 pages; Total, 32 pages.
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Berbiguier - Nouvelle Fantaisie - Flute & Piano
Nouvelle Fantaisie pour Flûte, Op. 80, by T. BerbiguierGassett Collection - Facsimile Edition by C.A.Vater/Noteworthy Sheet Music, with a Foreword by Peter H. Bloom
Flute and Piano Parts, PDF $13.50
Berbiguier's Nouvelle Fantaisie (Opus 80), like his Grande Fantaisie (Opus 77), was composed on melodies from Carl Maria von Weber's genre-defining opera Der Freischütz. Both pieces were published around 1825. Enthusiasm for Der Freischütz continued to build in subsequent decades, as evinced by the nearly numberless fantaisies, paraphrases, souvenirs, and variations that have been published. Melodies from Freischutz pervade the classic repertoire of instruments from aeolian pianola to zither, including examples for concertina, mandolin, saxophone, and ocarina quartet. Piano and flute sheet music.
For additional information about the Gassett Collection, please see see our article An Introduction to the Gassett Collection.
Piano part, 11 pages; Flute part, 7 pages
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Bloch - Petite Fantaisie Hongroise - Pf & Afl
Petite Fantaisie Hongroise No.1, Op.21, by J. Bloch Transcribed for Alto Flute and Piano by C.A.Vater
Piano Score and Alto Flute Part, PDF $5.99
József Bloch (1862-1922) was a Hungarian violin virtuoso, composer, and professor at the National Academy of Music and the National Conservatory (www.jewishencyclopedia.com). His Petite Fantaisie Hongroise No.1, Opus 21, was written for piano and violin and published by Bárd, ca. 1901. We thought this piece would work beautifully on alto flute, so we created a transcription of the violin part. In the range written for the Petite Fantaisie Hongroise, the alto flute may evoke the dark, mournful tone of the modern tárogató, which is often referred to as the Hungarian national instrument. We provide both our transcribed alto flute part and a re-notated edition of the piano score.
Alto Flute part, 3 pages; Piano Score, 6 pages; Total, 12 pages.
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For those who would prefer to purchase a professionally-printed hard copy of this piece, rather than the PDF download offered above, our print edition of the Bloch Petite Fantaisie Hongroise No.1, Op. 21 transcribed for Piano & Alto Flute is available directly from NSM for $13.49 plus a $5.95 shipping and handling fee to addresses in the USA. 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.
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Brahms - Drei Duette - 2 Voices and/or Instruments and Piano
Drei 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 $12.99Composed 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
Trio in A Minor, Op.114, by Johannes BrahmsTranscribed 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
Two Songs, Op.91, by Johannes BrahmsTranscribed 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
Variations on a Theme of Robert Schumann, Op.23, by J. BrahmsTranscribed 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
Variationen über ein Thema von Robert Schumann, Op.23, by Johannes BrahmsArranged 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
Sonata, Op.120 No.1, by Johannes BrahmsTranscribed 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
Sonata, Op.120 No.2, by Johannes BrahmsTranscribed 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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Briccialdi - Fantaisie pour la Flûte - Fl & Pf
Fantaisie pour la Flûte, Op.110, by BriccialdiGassett Collection - Facsimile Edition by C.A.Vater/Noteworthy Sheet Music
Flute Part and Piano Score, PDF $13.50
The virtuoso Italian flutist Giulio Briccialdi (1818-1881) was a captivating performer and a brilliant and prolific composer of works for the flute. His compositions became highly popular among flutists and include several concerti and numerous duets, caprices, fantasies, and etudes. He served as professor of flute at the Academy of St. Cecilia in Rome and later at the Florence Conservatoire. A proponent of the Boehm flute, Briccialdi is best known today for his invention of the Briccialdi B-flat thumb key and for his variation on the Carnival of Venice, "Il Carnevale di Venezia" (Op.78). We offer here our facsimile edition of his charming, challenging, and otherwise unavailable Fantaisie pour la Flûte sur des motifs de l'opera La Sonnambula de Bellini (Op.110).
For additional information about the Gassett Collection, please see see our article An Introduction to the Gassett Collection.
Piano score, 13 pages; Flute part, 5 pages; Total 23 pages.
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Bridge – 4 More Short Pieces – Flute or Alto Flute (and Piano)
Cradle Song, Gondoliera, Mélodie, and Elégie, by Frank BridgeTranscribed for Flute or Alto Flute (and Piano) by J. W. Pratt
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Flute Part, Alto Part, PDF $11.99
Like the 4 Short Pieces for Violin and Pianoforte published in transcription by Noteworthy Sheet Music earlier this year, these additional four short pieces by Bridge "provide a fine and delightful introduction to an accessible post-romantic composer who should be better known." Published by Bridge between 1903 and 1911, the works included in our second edition are transcriptions of Cradle Song, written for violin or cello and piano, Gondoliera for violin and piano, and Mélodie and Elégie for cello and piano. Mr. Pratt has created transcriptions of all four pieces for both flute and alto flute, and we include both instrument versions in this combined edition. We think Cradle Song and Elégie are particularly beautiful on the alto flute, but all are effective on either instrument, so we prefer to let our flutists decide on which instrument they choose to play each piece. We provide our flute and alto flute parts only; the original piano scores work well with our transcriptions and are available, along with the violin and cello parts, as free pdf downloads at imslp.org—click the links to access the scores for Cradle Song, Gondoliera, Mélodie, and Elégie.
Flute part, 6 pages; Alto Flute part, 6 pages; Total, 14 pages. -
Bridge – 4 Short Pieces – Flute or Alto Flute (and Piano)
4 Short Pieces, by Frank BridgeTranscribed for Flute or Alto Flute (and Piano) by J.W.Pratt
Flute Part, Alto Part, PDF $8.99
The 4 Short Pieces by Frank Bridge were written for violin and piano, and first published in 1912. As noted in John Pratt's foreword to the edition, they "provide a fine and delightful introduction to an accessible post-romantic composer who should be better known." The pieces are "Meditation", "Spring Song", "Lullaby", and "Country Dance". Mr. Pratt has created transcriptions of the violin parts for both flute and alto flute, and we include both instrument versions in this edition. We think Nos. 1 and 3 sound particularly nice on the alto flute and No. 4 is a splendid romp on the C flute, but all four are effective on either instrument, so we prefer to let our flutists decide on which instrument they choose to play each piece. We provide only our flute and alto flute transcriptions; the piano score, including the original violin part, is available as a free pdf download at imslp.org.Flute part, 5 pages; Alto Flute part, 5 pages; Total, 14 pages.
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Bridge – Two Pieces: Pensiero and Allegro appassionato – trans. for Clarinet and Piano
Two Pieces: Pensiero and Allegro appassionato, by Frank BridgeTranscribed for B-flat Clarinet and Piano by C.A.Vater
Score and Part; PDF $10.99
Certain chamber works written for viola can also work very beautifully when transcribed for clarinet, and indeed may actually be coveted by clarinetists. Brahms’ Two Songs for Voice, Viola and Piano, Op. 91 is one such piece, and our transcription has become one of NSM’s most popular publications. Clarinetists may discover that our adaptation of the viola part of Frank Bridge’s Two Pieces: Pensiero and Allegro appassionato, written for viola and piano, is also well-conceived and enjoyable to play. As suggested by their titles, these two pieces were written in very different styles, but they complement each other well, showing off Bridge’s composing versatility and providing performers an opportunity to display a range of emotions and capabilities. In our edition, we have raised the Pensiero key from F minor to G minor, taken a few passages in both pieces 8va to bring them into clarinet range, and created clarinet-friendly adaptations for the viola’s occasional double stops, but otherwise the pieces remain as Bridge composed them.
Score, 10 pages; Clarinet part, 3 pages; Total, 16 pages.
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Bruch - Eight Pieces - Alto Flute
Acht Stücke, Op.83, by Max BruchTranscribed 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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Burleigh - Southland Sketches, Nos. I, III, IV - Alto Flute or Flute (& piano)
Southland Sketches, Nos. I, III, IV, by H. T. BurleighTranscribed for Alto Flute or Flute (and piano) by C. A. Vater
Alto Flute part and Flute part, PDF $9.96
Harry Thacker Burleigh was an acclaimed African-American singer, music editor, and composer whose adaptations of African-American spirituals became famous. His Southland Sketches, which were composed for violin and piano and published by G. Ricordi in 1916, are a fine example of Burleigh’s quintessential American style. The original composition included 4 movements. Our edition excludes the second movement, but adapts three of the original four miniatures for either alto flute or flute. We provide only the transcribed alto flute and flute parts, as they have been designed to work well with the piano part in the original score for violin and piano which is available as a good quality, free pdf download from imslp.org. Performers may choose to play all three of these pieces on either flute or alto flute, or switch instruments between sketches, depending on personal preference.
Alto Flute part, 6 pages; alternate Flute part, 6 pages; Total,18 pages. (pdf of piano accompaniment is freely available at imslp.org)
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Coste - Cavatine - Afl + Pf
Cavatine, Op.37, by Napoléon CosteTranscribed for Alto Flute and Piano by C.A.Vater
Piano Score and Alto Flute Part, PDF $8.25
Napoléon Coste (1805-1883) was born in a small village in the Départment of the Doubs, France. He began to play guitar at the age of 6, studying with his mother who was an accomplished guitar performer. Napoléon himself began teaching and performing on guitar as a teenager. At age 24 he moved to Paris, where he studied under Fernando Sor, the renowned Spanish classical guitarist and composer. Coste quickly established himself as a virtuoso and is widely acknowledged as the dominant French guitarist of his era.
Coste became famous not only as a guitar soloist, but also as a major composer of some 60 works, most of which were written for guitar. His Op.37 "Cavatine" is a short, single-movement piece for piano and oboe (or violin or flute). Melodic but lively in places, the work should appeal to amateurs of a moderate or higher skill level. Our transposition of Cavatine falls nicely within the range of the alto flute and sounds appealing and completely natural on that instrument. The Noteworthy Sheet Music edition includes a score for piano and alto flute, in addition to the transcribed alto flute part.
Alto Flute part, 3 pages; Piano Score, 8 pages; Total, 16 pages.
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Coste - Les Regrets - Afl or Fl (or Ob, Vn) and Pf (or Guitar, Harp)
Les Regrets-Cantilène, Op.36, by Napoléon CosteTranscribed for Alto Flute or Flute (or Oboe or Violin) and Piano (or Harp or Guitar) by C.A.Vater
Score, Alto Flute Part, and alternative Flute (or Oboe or Violin) Part, PDF $5.99
Napoléon Coste (1805-1883) became famous not only as a guitar soloist, but also as a major composer of some 60 works, most of which were written for guitar. His music is in the romantic French style and appreciated for its originality. His Fantaisie, Op.36, Les Regrets-Cantilène, is a short, single-movement piece written for oboe or violin with piano or harp or guitar. We created our Noteworthy Sheet Music edition from the difficult-to-read manuscript version in the public domain, available on imslp.org. We include a score in concert pitch and a part suitable for flute, oboe or violin, as well as a part transcribed for alto flute in G. The piece falls nicely within the sweet range of the alto flute and our transposition sounds appealing and completely natural on that instrument. In fact, Les Regrets-Cantilène is gorgeous on either flute or alto flute. Melodic and sentimental, the work is not overly demanding technically and should appeal to players of a moderate or higher skill level.
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Score, 4 pages; Alto Flute part, 1 page; Flute (or Oboe or Violin) part, 1 page; Total 8 pages. -
Danzi - Grande Sonate - Piano & Basset Horn
Grande Sonate, Op.62, by Franz Danzifor 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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