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Uncommon Sheet Music for Flute and Alto Flute

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Scores with at least one part for piano.
  • 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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  • Debussy - Première Rhapsodie - Alto Flute

    debussy.premiere rhapsodie.nsmPremière Rhapsodie, by Claude Debussy

    Transcribed for Alto Flute by C.A.Vater, with a Foreword by P.H.Bloom

    Alto Flute Part ― PDF $5.99

    Since its introduction as a morceau de concours for the Paris Conservatoire in 1910, Debussy's Première Rhapsodie has been an essential piece of the clarinet repertoire.... Although most of the morceaux are, by definition, run-of-the mill exercises of virtuosity à la mode, a number have endured as works of significant musical merit.  Debussy's Première Rhapsodie is one such piece.  It's a vehicle for expressive interpretation and artistry, with charm, warmth, passion, and humor; a lasting treasure at the core of every clarinetist's collection of indispensable works.... But a transcription?  Of a work by Debussy - the great colorist of instrumental sonority?  From clarinet to alto-flute?... Each and every element, in fact, evokes the alto-flute!... Of course the piece sounds different on the two instruments.  Although the sonic hues are different, the colors are just as vivid.  The distinct sonorities of the alto-flute support the nuance, the affect, and the power of the work. (excerpted from Peter H. Bloom © 2012)

    We provide our alto flute part only; appropriate parts for piano or orchestral accompaniment may be obtained as free pdf downloads from public domain resources, such as imslp.org.

    Alto Flute part, 4 pages.

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  • Densmore - The Voice and The Flute - Sop, Fl, Pf

    Densmore.CoverThe Voice and The Flute, by John H. Densmore

    Aria for Soprano and Flute

    Facsimile Edition by Noteworthy Sheet Music

    Piano Score and Part, $8.99

    The Voice and The Flute is a work composed by John H. Densmore for soprano, flute, and piano, with lyrics written by Mary Gardenia.  Densmore was a native of Somerville, Massachusetts; he graduated from Harvard '04 and is perhaps best known for having composed the Harvard fight song "Veritas".  Our edition of Densmore's Aria for Soprano and Flute is a facsimile reproduction of the original 1922 edition published by the composer, and contains both the piano score and the part for the voice and the flute.  

    Piano, Flute, & Voice score, 12 pages; Flute & Voice part, 6 pages; Total, 21 pages.

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  • Dieter - The Golden “Reade” Flute - Flute & Piano

    dieter the golden reade flute nsmThe Golden "Reade" Flute, by Eugene A. Dieter

    Flute Part and Piano Score ― PDF $7.99

    Elmer Reade (1898-1986), to whom The Golden "Reade" Flute is dedicated, served a long and distinguished career, first as a flutist with the U.S. Army Band and then as a conductor and music director of the Air Force Band at Mitchell Field, New York.  Eugene A. Dieter graduated from the first class of the US Army Music School in 1941 and was appointed a bandmaster.  Following the Second World War, Dieter accepted a bandmaster position with the Air Force Band and remained active until his retirement in 1966.  Likely, it was as an Air Force band colleague of Elmer Reade's that Dieter was inspired to compose The Golden "Reade" Flute. (excerpted from the foreword © by P. H. Bloom)

    Not at all militaristic in character, The Golden "Reade" Flute is more a lovely barcarole, a single Andante moderato movement in 6/8 time.  It offers interesting writing for both parts, so flutist and pianist will be equally pleased.  The title refers to the gold flute by William S. Haynes upon which Reade regularly performed.

    Piano score, 4 pages; Flute part, 2 pages. 

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  • 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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  • Drouet - Salute to New York - Flute and Piano

    Drouet Salute-to-NY nsmSalute to New York, A Song for the Flute, by Louis Drouet

    Edited and with a Foreword by P. H. Bloom
    Piano Score and Flute Part, PDF $5.99

    We have posted Peter H. Bloom's fascinating and highly informative © foreword to this edition, in its entirety, elsewhere on our website, under Resources - Reviews & Articles, so please visit that page for additional historical details regarding the composer, Salute to New York, the New York Crystal Palace, and Hall & Son's flutes, beyond the short excerpts and paraphrases included here.

    Louis-Francois-Philippe Drouet (1792-1873) is one of the most highly esteemed flute virtuosi in history.  Innumerable contemporary press accounts of his concert triumphs throughout Europe attest to his technical brilliance and exquisite musicianship.  He was a prolific and accomplished composer, author, flute theoretician, and pedagogue.  His many etudes are still prescribed as tools for flute mastery.  His Method of Flute Playing (1830) and 72 Studies on Style and Taste (1855) provide us with useful information concerning instrumental technique and performance practice in the mid-nineteenth century.

    The exquisite Salute to New York, A Song for the Flute was performed by Mr. Drouet at the Crystal Palace in New York, on the occasion of its grand reopening under the new management of showman P. T. Barnum in 1854.  Our renotated edition of the piece was edited by flutist Peter H. Bloom, who also has enhanced the original piano score with the addition of chord changes in order to broaden the scope of potential players.

    Score, 4 pages; Flute part, 2 pages; Total, 14 pages.

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  • Dvořák - Ballada - Alto Flute & Piano

    Dvorak-Ballada-Op15 AflPf nsmBallada, Op. 15, by Antonín Dvořák

    Transcribed for Alto Flute and Piano by C.A.Vater

    Alto Flute Part and Piano Score, PDF $7.99

    The Czech composer Antonín Leopold Dvořák (1841-1904) first visited England in 1884, at the invitation of the Philharmonic Society of London. He conducted several of his works there and and was commissioned to compose a new symphony for the Philharmonic Society, his Symphony No. 7 in D minor, Op.70, which he conducted in London on April 22, 1885. Dvořák, who was well-received in England for his longer works, including cantatas and oratorios, was asked by London publishers to write shorter compositions as well. The Ballada, composed by Dvořák in late 1884 shortly after he completed his Symphony No. 7, was written specifically for publication in the Christmas edition of the London Magazine of Music. It is a short work of approximately six minutes duration for violin and piano. Written in the key of D minor, the Ballad's outer sections are solemn and melancholy while the contrasting central Allegro agitato is fervid and intense. The piece works nicely on alto flute, and our transcription required few adaptations from the original violin part.

    [Sources for Dvořák biographical information: Baker's Biographical Dictionary of Musicians (Eighth Edition, Revised by Nicolas Slonimsky) and the internet website http://www.antonin-dvorak.cz/en/ballad.]

    Score, 8 pages; Alto Flute part, 3 pages; Total, 14 pages.

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  • Dvořák - Romantic Pieces - Alto Flute

    JPs_piano__Alto_flute_nicely_cropped_with_Gould_includedRomantische Stücke, Op.75, by Antonín Dvořák

    Transcribed for Alto Flute and Piano by J.W.Pratt and C.A.Vater

    Alto Flute Part, PDF $6.99

    Antonin Dvorak's Romantische Stücke (Romantic Pieces) was composed originally as a trio for two violins and viola but was later rearranged by the composer as a piece for violin and piano.  We created a transcription of the violin part for alto flute; the piano part is readily available in the public domain as a free pdf download of the score for violin and piano.  Here is a link to one such source: Piano Score.

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

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  • Dvořák - Sonatina - Alto Flute

    Dvorak Sonatina Op.100 nsmSonatina, Op.100, by Antonín Dvořák 

    Transcribed for Alto Flute and Piano by J.W.Pratt and C.A.Vater

    Alto Flute Part, PDF $11.99

    Czech composer Antonin Dvorak wrote his charming Sonatina in G major for violin and piano in 1893, during his stay in the United States.  Intended for Dvorak's own children but no less delightful for 21st century players of all ages, the piece is comprised of four short movements.  We provide here a transcription of the violin part for alto flute, which suits the "New World" feeling especially well.  We provide the alto flute part; the piano part is readily available in the public domain as a free pdf download of the score for violin and piano. Here is a link to one such source: Piano Score

    Alto Flute part, 13 pages; Total 16 pages.

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  • Dvořák - Sonatina - Clarinet (and piano)

    Dvorak Sonatina-Op100 cl nsmSonatina, Op.100, by Antonín Dvořák

    Transcribed for Clarinet in A (and Piano) by J.W.Pratt and C.A.Vater

    A-Clarinet Part, PDF $11.99

    From 1892 to 1895, Czech composer Antonin Dvorak (1841-1904) was in the United States, serving as the director of the National Conservatory of Music in New York City. He wrote his Sonatina in G major (Opus 100, B. 183) for violin and piano in 1893, and in some ways it reminds us of his triumphant Symphony No. 9, "From the New World", which was composed the same year. The Sonatina was written for and dedicated to Dvořák's own children. It has an average duration of 20 minutes and consists of four movements: I. Allegro risoluto; II. Larghetto (Indian Lament); III. Scherzo. Molto vivace; and IV. Finale. Allegro.

    In transcribing this popular work for clarinet, we have incorporated several changes in the part to account for sonic differences between the clarinet and the violin. In so doing, every effort has been made to maintain the spirit and character of the original composition. In places the New World feel is even stronger with a wind instrument. We provide here our transcribed A-clarinet part only; Dvořák's original piano part works well with the new clarinet part, and the score for violin and piano is readily available in the public domain as a free pdf download from imslp.org.

     

    A-Clarinet Part, 11 pages; Total, 14 pages.

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  • Elgar - Chanson de Matin - AFl & Pf

    elgar chanson-de-matin afl-and-pf nsmChanson de Matin, Op.15, No.2, by Edward Elgar

    Transcribed for Alto flute and Piano by C.A.Vater

    Alto Flute Part and Piano Score, PDF $6.99

    Edward Elgar composed his Chanson de Matin for violin and piano c.1889-1890.  The two companion pieces, Chanson de Matin (No. 2) and Chanson de Nuit (No. 1), together constitute his Op.15, and both pieces were later arranged for small orchestra by the composer.  Chanson de Matin was received with great enthusiasm, and its initial and lasting popularity can be attributed largely to its strong melodic appeal.  Enduring public affection for the piece has spawned the creation of numerous arrangements and transcriptions, including renditions for cello and piano, viola and piano, flute and guitar, piano solo, organ solo, and string quartet.  Noteworthy Sheet Music offers two of our own transcriptions of the lovely Chanson de Matin, one for alto flute and piano and one for C-flute and piano.

    Alto Flute part, 2 pages; Piano Score, 4 pages; Total, 12 pages.

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  • Elgar - Chanson de Matin - Fl & Pf

    elgar.chanson de matin.flpf.nsmChanson de Matin, Op.15, No.2, by Edward Elgar

    Transcribed for Flute and Piano by C.A.Vater

    Flute Part and Piano Score, PDF $6.99

    Edward Elgar composed his Chanson de Matin  for violin and piano c.1889-1890.  The two companion pieces, Chanson de Matin (No. 2) and Chanson de Nuit (No. 1), together constitute his Op.15, and both pieces were later arranged for small orchestra by the composer.  Chanson de Matin was received with great enthusiasm, and its initial and lasting popularity can be attributed largely to its strong melodic appeal.  Enduring public affection for the piece has spawned the creation of numerous arrangements and transcriptions, including renditions for cello and piano, viola and piano, flute and guitar, piano solo, organ solo, and string quartet.  Noteworthy Sheet Music offers two of our own transcriptions of the lovely Chanson de Matin, one for alto flute and piano and one for concert flute and piano.

    Flute part, 2 pages; Piano Score, 4 pages; Total, 12 pages.

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  • Elgar – Mot d’Amour – Alto Flute & Piano

     

    Elgar Mot Op13 1 Afl Pf nsmMot d’Amour, Op.13, No.1, by Edward Elgar

    Transcribed for Alto Flute and Piano by C. A. Vater

    Piano Score and Part for Alto Flute, PDF $5.49

    In 1888, Elgar composed Salut d’Amour, now one of his most-recognized pieces, as an engagement gift for his beloved fiancée. Later he wrote Mot d'Amour (Love's Word) for violin and piano as a companion piece to Salut d’Amour. Mot d'Amour, which was initially given the German title Liebesahnung, was published in 1889 by Osborn & Tuckwood in the edition 2 Pieces for Violin & Piano that included this piece and a second one, less well-suited to alto flute, called Bizarrerie. Mot d’Amour is similar to Salut d’Amour in being light, charming, and highly romantic. Although Mot d’Amour never attained the level of popularity achieved by the earlier work, it is considered by some to be the finer composition (https://www.elgar.org/3salut.htm). Both Salut d’Amourand Mot d'Amoursound especially rich and mellow when performed on alto flute, and both pieces are now available from Noteworthy Sheet Music as transcriptions for alto flute and piano, adapted from the composer’s violin and piano editions now in the public domain and available on imslp.org.  

    Score, 4 pages; Alto Flute part, 1 page; Total, 8 pages.

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  • Elgar – Salut d’Amour – Alto Flute & Piano

     

    Elgar Salut Op12 Afl Pf nsmSalut d’Amour, Op. 12, by Edward Elgar

    Transcribed for Alto Flute and Piano by C. A. Vater

    Piano Score and Part for Alto Flute, PDF $6.99

    The English composer Edward Elgar held many positions throughout his career, including those of organist at St. George’s Roman Catholic Church in Worcester, conductor of the Worcester Philharmonic, Professor of Music at the University of Birmingham, and conductor of the London Symphony Orchestra. He achieved considerable prominence as a result of his many successful orchestral, vocal, and chamber music compositions. Elgar composed this piece in 1888, as an engagement gift to his beloved future wife. Though first written for piano solo, arrangements were created shortly thereafter by the composer himself for violin and piano, and for orchestra. Originally titled “Liebesgruss” (Love’s Greeting), but later changed to Salut d’Amour, the piece is now one of Elgar’s most widely recognized works, and its immense popularity has led to arrangements for a wide variety of other instruments. We provide here a transcription of Salut d’Amour for alto flute and piano, which has been adapted from the editions published by Schott for violin and piano, oboe and piano, or orchestra and which are now in the public domain.

    Score, 4 pages; Alto Flute part, 2 pages; Total, 10 pages.

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  • Falla - Siete Canciones populares Españolas - Alto Flute (& piano)

    Falla 7Canciones afl nsm Seven Spanish Folksongs, by Manuel de Falla

    Transcribed for Alto Flute (and piano) by C. A. Vater

    Alto Flute part, PDF $8.99

    Manuel de Falla (1876-1946) is regarded as one of the greatest Spanish composers of the twentieth century. His Siete canciones populares españolas (“Seven Spanish Folksongs”) is a cycle of traditional songs from various regions of Spain set for voice and piano. Written in 1914, the work quickly became very popular: in 1925, six of the seven songs were arranged for violin and piano as the Suite populaire espagñole by the Polish violinist, composer and arranger Paul Kochánski, and subsequent versions were designed for solo piano, voice and guitar, piano and cello, and orchestra. We created the Noteworthy Sheet Music alto flute part by adapting ideas from both the Falla vocal line and the Kochánski violin line, modifying pitches, articulations, dynamics, etc. as needed to best suit the alto flute’s range and style.  Our alto flute part is intended to be accompanied by piano using the original Falla score for voice and piano, which is available as a free downloadable pdf at imslp.org; we provide only the transcribed alto flute part in the NSM edition.

    The seven songs included in the original voice and piano publication, as well as in our alto flute part edition, are El Paño Moruno (“The Moorish Cloth”), Seguidilla murciana (an old dance form, omitted in the Kochánski violin and piano version), Asturiana (a lament from the northern part of Spain), Jota (a familiar dance form from the north east of Spain), Nana (an Andalusian lullaby), Canción (“Song”), and Polo (reminiscent of the zapateado, a Spanish dance rich in flamenco rhythms). This information and an in-depth analysis of the Siete canciones populares españolas, including historical and regional background, music analysis, and an English translation of the lyrics, can be found in the excellent article by composer and conductor Gianmaria Griglio, co-founder and Artistic Director of ARTax Music.

    Alto Flute part, 8 pages; Total,10 pages. (pdf of piano accompaniment is freely available at imslp.org)

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  • Fauré - Berceuse - Alto Flute & Piano

    Berceuse, Op.16, by Gabriel Fauréfaure berceuse nsm

    Transcribed for Alto Flute and Piano by C.A.Vater

    Piano Score and Alto Flute Part, PDF $6.99

    Gabriel Fauré composed his Berceuse(Op. 16) for violin (or cello) and piano in 1878-1879, and it was first published by J. Hamelle, Paris.   To this day, the Berceuse remains one of Fauré's most beloved and popular works.  The piece is simple but beautiful, short, with a quiet sweet melody that appeals to both performers and audiences alike.  It is no wonder that over the years the Berceuse has been transcribed for many other instruments; arrangements have been created for solo piano, viola, flute, alto saxophone, flute and harp, and string quartet, in addition to the composer's own arrangement for violin and orchestra.

    Now, in response to an excellent suggestion we received from one of our customers, we add our own version of the Fauré Berceuse, a transcription for alto flute and piano.  Perhaps we are biased, but we think the alto flute is a wonderful instrument choice for this lullaby.   The piece is suitable for players of all levels.  

    Alto Flute part, 2 pages; Piano Score, 5 pages; Total, 12 pages.

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  • Fauré - Pièce - Alto Flute & Piano

    faure piece nsmPièce (Vocalise-Étude), by Gabriel Fauré

    Transcribed for Alto Flute and Piano by C.A.Vater

    Alto Flute Part and Piano Score, PDF $4.99

    Vocalises are songs without words written to provide technical challenges for singers; they are designed to develop flexibility and control, and thus often serve as vocal warm-up exercises.  Gabriel Fauré composed his Vocalise-Étude in 1906, and it was published by Leduc the following year.  The original piece, in the key of E minor and marked Adagio molto tranquillo, includes a piano accompaniment and incorporates various difficulties for the vocal soloist, including wide intervals, unexpected harmonies, and demanding rhythms.

    Fauré's Vocalise-Étude has long been recognized as a particularly lovely and poignant piece of music, not merely a vocal exercise but a musical work of intrinsic beauty.  Under its alternative name Pièce, the Vocalise-Étude has been transcribed for various orchestral instruments, including bassoon and piano, flute and piano, and oboe and harp.  We at Noteworthy Sheet Music think the alto flute, with its rich, mellow tone, is the perfect instrument for this moving and somewhat melancholy Fauré melody.  Our transcription for alto flute and piano is based on the version of the Vocalise-Étude for medium voice, in the key of D minor, published by Alphonse Leduc in 1907 and now in the public domain.

    Alto Flute part, 1 page; Piano Score, 3 pages; Total, 8 pages.

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  • Fauré - Sicilienne - Alto Flute

    Faure Sicilienne op78 Afl nsmSicilienne, Op.78, by Gabriel Fauré

    Transcribed for Alto Flute (and Piano) by C.A.Vater

    Alto Flute Part, PDF $3.79

    Sicilienne (Opus 78) was composed by Gabriel Fauré in 1893 and first published as a chamber music version for solo cello or violin with piano accompaniment in 1898.  Numerous transcriptions of this popular piece have been made, including arrangements for flute and piano, viola and piano, horn and piano, flute and harp, 2 flutes and piano, flute and clarinet, and piano solo, among others.  Our alto flute part is a transcription based on the original violin and cello parts of the edition published by J. Hamelle in 1898.  We provide only the transcribed alto flute part; the piano accompaniment is readily available as a free pdf download of the original score for piano and cello, now in the public domain.

    Alto Flute part, 2 pages of music; Total, 4 pages.

     
  • Foster - Old Folks; Oh! Susanna - Vo/Pf/Fl/Vc

    Foster - Old Folks; Oh! Susanna - Vo/Pf/Fl/VcOld Folks at Home and Oh! Susanna, by Stephen Foster

    Arranged with Flute and Cello ad lib by John W. Pratt

    Flute Parts, Cello Parts, Voice Parts, and Piano Scores ― PDF $7.99

    The following excerpts are taken from John W. Pratt's foreword to the edition:

     

    When a Golden Oldie comes to mind, Doo-dah! Doo-dah!

    Comic, sad, or any kind, Oh!  Doo-dah-day!

    Jeanie, Swanee, Kentucky, Joe,  Doo-dah!  Doo-dah!

    Beautiful, dreamy, fast, or slow, Oh!  Doo-dah-day!

    I'll bet I know who wrote it, he wrote them night and day,

    Stephen Foster wrote it, he'll never go away.

     

    Stephen Foster was born in Lawrenceville, Pa., on July 4, 1826...He wrote over 200 songs, including 135 parlor songs, 28 minstrel songs, and 21 hymns and Sunday school songs. A remarkable number are memorable, as the ditty above will attest to anyone with anything like my background. One wonders why. The harmonies and rhythms are basic, as are the forms and rhyme schemes (see above), the music is repetitious, and the vocal range rarely goes outside an octave (a great benefit for community singing). Yet the fit is so natural and the pacing so well judged that the songs are ideally effective and diabolically catchy. Foster is perhaps, though on a different plane, the Mozart of his field...

    For a pianist playing several stanzas at a sing-along, Foster's songs do become a little dull. But their very simplicity, repetitiousness, and familiarity abet variation as, again on a different plane, chorales serve Bach chorale preludes. Like chorale preludes, the piano parts here always incorporate the melody, so they can be played solo or to accompany amateur singers. It struck me that they could be enhanced by optional flute parts. After writing them, I discovered that, according to his brother Morrison, Foster himself "delighted in playing accompaniments on the flute...As the song went on he would improvise...the most beautiful variations upon its musical theme." If Foster's improvisations were like the one his brother published, however, they just varied the melody itself in the manner of the period. My game is more ambitious, as you will easily see. I added optional cello parts, mostly for color, as in the Haydn trios but superficially more interesting for the cellist. (Again we are on a different plane, of course.)

    "Oh! Susanna," one of the best-known American songs by anybody, is Foster's "Erlkönig." (Speak of different planes!) With its nonsensical lyrics and polka beat, it is clearly comical, and I treated it accordingly. It was written in Cincinnati, possibly for a social club, first performed at an ice cream saloon in Pittsburgh in 1847, and published in 1848. When no American song had sold over 5,000 copies, it sold over 100,000. It earned Foster only $100, but its popularity led to a publisher's offer, convincing him to become a professional songwriter, America's first.

    "Old Folks at Home" established Foster as a truly American composer. It was written in 1851 for a blackface troupe whose leader paid Foster about $15 to be credited for it. When almost finished, Foster asked his brother for "a good name of two syllables for a Southern river." He rejected Yazoo and Pedee, but was delighted with Swanee, a shortening of Suwanee, a small river in Florida which his brother found in an atlas. Though about a slave's nostalgia for home, I find its theme universal and melancholy and I resisted the temptation to jazz it up. Please try, at least, a slowish tempo.

    ― John W. Pratt, May 27, 2013 ©

    Flute parts, 2 pages; Cello parts, 2 pages; Voice parts, 2 pages; Scores, 7 pages; Total, 18 pages.

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