Noteworthy Sheet Music, LLC

Uncommon Sheet Music for Flute and Alto Flute

German

  • 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. Click to preview a page of the Bach Chaconne.

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

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  • Bach BWV532 WW4 nsmFugue in D-major, BWV 532, by J. S. Bach

    Transcribed for Woodwind Quartet by John W. Pratt

    Score and Parts, PDF $21.25

    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 even 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! 

    The woodwind quartet arrangement (for flute, oboe, B-flat clarinet, and bassoon) preserves Bach's four voices almost exactly.  Click to preview p2 of the score for Bach's Fugue in D major for woodwind quartet.

    Score, 11 pages; Parts, 20 pages; Total, 34 pages.

  • 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.  Click to preview p1 of the score for the Bach Prelude and Fugue for woodwind quintet Prelude and Fugue for woodwind quintet.

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

     

  • 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.  Click to preview p1 of the score for Bach's Toccata, Adagio, and Fugue for piano.

    Piano part, 15 pages; Total, 17 pages.

  • 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.

  • 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 (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.

     

    beethoven adelaide nsmNew Edition: Flute & Piano score, 10 pages; Flute part, 4 pages; $10.50.

     

     

     

    adelaide-123111-webFacsimile Edition: Clarinet & Piano score, 9 pages; Flute part, 2 pages; $8.25.

     

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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 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.

  • 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; click to preview p1.  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.

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

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

    Clarinet Part, PDF $5.99

    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.

    Click to preview a page of our clarinet transcription of the viola part for Brahms' Zwei Gesänge Zwei Gesänge.

    Clarinet part, 4 pages; Total, 8 pages.

  • 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. 

    Sheet music for solo piano – Brahms' Variationen über ein Thema von Robert Schumann – click to preview p1.

    Piano score, 21 pages; Total, 23 pages.

  • 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.

  • 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.

  • 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 - click to preview p1.  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.

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

    Gassett Collection - Facsimile Edition by 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!  

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

  • 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.  Click to preview p1 of the score.

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

  • Hauptmann Bereavement Afl Pf nsmLento - Bereavement, by Moritz Hauptmann

    Transcribed for Alto Flute and Piano by C. A. Vater
    Piano Score and Alto Flute Part, PDF $3.99


    Hauptmann's 3 Violin Duos, Op.16 were first published in 1832. The Lento (Bereavement) from Op.16 later was arranged for violin and piano by the renowned violinist, violist, and composer Heinrich Wilhelm Ernst. It is this arrangement by Henri Ernst, published in 1880, that served as the basis for NSM’s transcription of the piece for alto flute and piano. The mournful simplicity of the Lento is perfectly captured and beautifully rendered by the alto flute.

    Alto Flute part, 1 page; Piano Score, 2 pages; Total, 6 pages.


     

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    hauptmann.op.31 imageMeerfahrt, Nachtgesang, and Der Fischer, Op.31, by M. Hauptmann

    Facsimile Edition plus a Transcription of the violin part for Flute by C.A.Vater

    Score for Violin, Voice, & Piano, Violin Part, and Flute Part, PDF $18.75

    Moritz Hauptmann (1792-1868) was a renowned music theorist, pedagogue, violinist, and composer.  In 1842, at Mendelssohn's recommendation, he was appointed cantor at the Thomasschule and professor of composition at the newly founded Leipzig Conservatory.  Hauptmann published a major scholarly work on music theory in 1853, "Die Natur der Harmonik und Metrik" (The Nature of Harmony and Meter), as well as some 60 compositions.

    Hauptmann's Op.31 comprises three lovely songs scored for voice with accompaniment of violin and piano: No.1, Meerfahrt (Sea Voyage); No.2, Nachtgesang (Night Song); and No.3, Der Fischer (The Fisherman). The vocal range extends from B3 to G5, and thus is well-suited for mezzo-soprano.  These pieces were published by C. F. Peters as part of a larger volume, now in the public domain, entitled "Lieder-Album für eine Singstimme mit Pianoforte und Violin Begleitung".  Our edition contains an "enhanced" facsimile of the original, plus a new transcription of the violin part for flute created using a modern music notation program.  The three songs may be performed with comparable gratification utilizing the accompaniment of either violin or flute, along with the voice and piano. Click here to preview p1 of the score.

    Score, 15 pages; Violin part, 5 pages; Flute part, 5 pages; Total, 29 pages.

  • Hoffmeister Op50Duo3 fl-cl nsmSonata in D minor, Op.50, Duo 3, by Franz Anton Hoffmeister


    Duet transcribed for Flute and Bb Clarinet
    Score and Parts, PDF $11.25


    Noteworthy Sheet Music published an edition of the Sonata in D minor, Duo 3 from Hoffmeister's Trois Duos pour Deux Flûtes, Op.50, after being contacted by flutist Richard A. Evans. Years ago, Mr. Evans had located several editions of 18th and 19th century flute duets, long since out of print, at the Library of Congress. Finding them quite enjoyable to play, and believing them undeserving of their current obscurity, he and his music colleague Bronnie Stroud took the initiative of re-typesetting and editing the pieces using a modern music notation software program. Aware of the paucity of repertoire available for flute and clarinet duo, and realizing these pieces would work nicely for that instrument pair as well, he also transcribed the second flute parts for Bb clarinet. We at NSM agreed that these works should be made more readily available to present-day musicians and audiences, and we published them after making only minor stylistic and formatting revisions to Mr. Evans' scores and parts; the articulation and dynamic markings are those suggested by Mr. Evans.


    Score, 15 pages; Flute part, 8 pages; Bb Clarinet part 8 pages; Total, 34 pages.

  • Hoffmeister Op50No3 Fl-Fl nsmSonata in D minor, Op.50, Duo 3, by Franz Anton Hoffmeister

    Duet for Two Flutes
    Score and Parts, PDF $11.25

    Franz Anton Hoffmeister (1754-1812) was a German music publisher and prolific composer. He studied law in Vienna, but after becoming captivated by the music scene in that city he devoted the rest of his life to music. His compositional output includes numerous symphonies and overtures, operas, string quartets, pieces for piano, and a great many compositions for flute, including concertos and chamber works. Noteworthy Sheet Music's edition of the Sonata in D minor, Duo 3 from Hoffmeister's Trois Duos pour Deux Flûtes, Op.50 was edited and notated by Richard A. Evans and Bronnie Stroud. Years ago, Mr. Evans located several original editions of 18th and 19th century flute duets, long since out of print, at the Library of Congress. He found them quite enjoyable to play, and undeserving of their current obscurity. NSM agreed and is offering updated editions of these flute-flute duets, as well as editions transcribed for flute and clarinet (browse under under Wind Ensembles or Clarinet).

    mp3 iconClick the mp3 icon to listen to a short audio sample of the Hoffmeister Sonata in D minor first movement, performed and recorded by Demi Stevens, a former student of Richard Evans, playing both parts of the duet.
    "This is a fabulous duet and has been incredibly fun to practice. Thank you for making it available!"
    "Cheers to my mentor's awesome arrangement. I hope you enjoy! With love and admiration, ~Demi"

    Score, 15 pages; Flute-1 part, 8 pages; Flute-2 part, 8 pages; Total, 34 pages.

     

  • Mendelssohn Op-113 fl-cl-pf nsmConcert Piece No.1, Op.113, by Felix Mendelssohn

    Transcribed for Various Wind Instruments and Piano by John W. Pratt
    (originally for Clarinet, Basset Horn, and Piano)


    Individual Primo parts for Clarinet, Flute, or Oboe, PDFs $5.99 each


    Individual Secondo parts for Bassoon, Clarinet, or English Horn, PDFs $5.99 each


    Piano Score, with original Clarinet and Basset Horn parts in concert pitch, PDF $6.99


    Piano Score (original winds in concert pitch), Flute & Clarinet Parts, PDF $13.99


    Piano Score (original winds in concert pitch), Clarinet & Bassoon Parts, PDF $13.99


    The following is excerpted from John Pratt's © foreword:
    "In 1833, Felix Mendelssohn (1809-1847) wrote two Concert Pieces for Clarinet, Basset Horn, and Piano, op. 113 and op. 114, as show-pieces for the famous clarinetist Heinrich Bärmann (1784-1847) to play with his up-and-coming son Karl (1811-1885) on the basset horn. // Mendelssohn's two Concert Pieces are very suitable for transcription, even aside from the rarity of the basset horn today. We provide, as well as the original clarinet part, transcriptions of it for flute and oboe. Transcriptions of the basset horn part are provided for bassoon, clarinet, and English horn. These primo and secondo parts can be mixed and matched at will. For the score, we use Mendelssohn's instruments rather than some other arbitrary pair. This enables anyone interested to check any transcribed part against the original. The score gives the parts in concert pitch, because a transposition would apply to only one of the possible winds, and because the pianist can then easily play any part at original pitch."

    Please note that PDFs of the original score and clarinet-primo part are available free of charge in the public domain (see the listing of this work on IMSLP.org), and our transcribed primo and secondo wind parts can readily be used with the original score. Therefore, you should purchase our Score and/or Clarinet-primo part only if you would like Mr. Pratt's concert pitch version of the score (for piano with clarinet and basset horn) and/or would like to take advantage of the price break provided by one of our complete trio editions.

     

    Mendelssohn Op-113 fl-cl-pf nsmComplete Edition for Flute, Clarinet, and Piano; PDF $13.99

    Score, 8 pages; Flute Part, 4 pages; Clarinet Part, 4 pages, Total, 24 pages.

     

    Mendelssohn Op-113 cl-bn-pf nsm

    Complete Edition for Clarinet, Bassoon, and Piano; PDF $13.99

    Score, 8 pages; Clarinet Part, 4 pages, Bassoon Part, 4 pages; Total, 24 pages.

     

    Piano Score with Clarinet and Basset Horn lines in concert pitch, 8 pages; Total, 10 pages; PDF $6.99

    (note that the original score is freely available on IMSLP.org)

     

    Clarinet in B-flat, primo part, 4 pages; Total, 6 pages; PDF $5.99

    (note that the original clarinet part is freely available on IMSLP.org)

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    Flute, primo part, 4 pages; Total, 6 pages; PDF $5.99

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    Oboe, primo part, 4 pages; Total, 6 pages; PDF $5.99

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    Bassoon, secondo part, 4 pages; Total, 6 pages; PDF $5.99

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    Clarinet in B-flat, secondo part, 4 pages; Total, 6 pages; PDF $5.99

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    English Horn, secondo part, 4 pages; Total, 6 pages; PDF $5.99

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