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Uncommon Sheet Music for Flute and Alto Flute

Soprano

  • Beach - Ecstasy - Voice (or Afl), Alto Flute (or Cl), and Piano

    Beach Ecstasy nsmEcstasy, Op.19 No.2, by Mrs. H. H. A. Beach


    Two versions, for "Low voice (in Db)" or "High voice (in Eb)", with Alto Flute Obbligato (transcribed) and Piano.
    Alternative parts for Alto Flute Solo and Bb Clarinet Obbligato.
    Program Notes by Peter H. Bloom.


    Piano Scores, Voice Parts, Alto Flute Obbligato Parts, and alternative Alto Flute Solo Parts and Clarinet Obbligato Parts; PDF $8.99

    Noteworthy Sheet Music is thrilled to publish our edition of Amy Marcy Cheney Beach's song Ecstasy in 2017, in celebration of the 150th anniversary of the composer's birth. The idea to make Ecstasy available to a broader combination of players and singers came from flutist Peter H. Bloom, who proposed that the piece would be an excellent vehicle with which instructors might inform students (early and advanced alike) about interpretation of the highly romantic late 19th century idiom. To that end, we have packaged together in a single edition Mrs. H. H. A. Beach's two versions of Ecstasy, for "low voice (in Db)" and "high voice (in Eb)", with each version including transcriptions of the obbligato (originally for violin) for either alto flute in G or clarinet in Bb, and an alternative solo part in the form of an alto flute transcription of the voice line. Thus, multiple performance variations are possible, including high or low voice and piano with either alto flute or clarinet obbligato, or fully instrumental versions for alto flute and piano, or two alto flutes and piano, or alto flute, clarinet, and piano.

     

    Scores, 8 pages (4 pages each version); Voice parts, 2 pages (1 page each version); Alto Flute Obbligatos, 2 pages (1 page each version); Clarinet Obbligatos, 2 pages (1 page each version); Alto Flute solo parts, 2 pages (1 page each version); Total, 20 pages.

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  • Bloom - From the Drawer - Tenor or Soprano and Saxophone Quartet

    Bloom From-the-Drawer Voice-Saxophones nsmFrom the Drawer, for Voice and Saxophones, by Peter H. Bloom

    Contemporary Composition for Tenor or Soprano, with Saxophone Quartet

    Score and Parts, PDF $13.99

    Boston-based flutist Peter H. Bloom created two versions of his composition From the Drawer, the edition listed here for Tenor or Soprano with Saxophone Quartet (soprano saxophone, alto saxophone, tenor saxophone, and baritone saxophone) and a second edition for Tenor or Soprano with Flute (doubling Piccolo), Clarinet, Bassoon, and Horn; both editions have been published by Noteworthy Sheet Music. The score provides a musical setting for the intensely emotional poem by Constantine Cavafy. The composer suggests that the vocalist (depending on his or her performance style/background/aesthetic judgment) should free to employ amplification at his/her discretion. 

     

    Here are Mr. Bloom's comments about From the Drawer, taken from his preface (Copyright © 2015) to the edition:

    "Constantine Cavafy’s 1923 poem, From the Drawer, captures the acerbic condition of longing, the impossibly private nature of affection, and the occultation of time. Its poignancy is universal; transcending gender, age, era, place, and even translation. Rather than rely on one particular translation of Cavafy’s text, I’ve drawn on a number of versions to arrive at a paraphrase that both informs and is shaped by the musical score.

    The musical setting is a sonic image of the intensely emotional response to a flood of memory that informs the poet’s narrative: now pensive, now anxious, now wistful, now joyous, now fraught, now resigned, and ever mercurial."  P. H. Bloom, September 19, 2015

    Score, 14 pages; Tenor or Soprano part, 2 pages; Soprano Saxophone part, 4 pages; Alto Saxophone part, 3 pages; Tenor Saxophone part, 3 pages; Baritone Saxophone part, 3 pages; Total, 29 pages.

    Click to preview a page of the score.

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    We also offer a professionally-printed hard copy edition of From the Drawer for $23.78 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.

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  • Bloom - From the Drawer - Tenor or Soprano, Flute, Clarinet, Bassoon, Horn

    Bloom FTD nsmFrom the Drawer, by Peter H. Bloom

    Contemporary Composition for Tenor or Soprano, with Flute (doubling Piccolo), Clarinet in B-flat, Bassoon, and Horn in F

    Score and Parts, PDF $13.99

    Peter H. Bloom is a Boston-based flutist, whose original compositions and arrangements are published by Noteworthy Sheet Music.  From the Drawer was written for Tenor or Soprano, with Flute (doubling Piccolo), Clarinet, Bassoon, and Horn, and provides a musical setting for the intensely emotional poem by Constantine Cavafy.

    Here are Peter Bloom's comments about From the Drawer from the composer's preface (Copyright © 2015) to the edition:

    "Constantine Cavafy’s 1923 poem, From the Drawer, captures the acerbic condition of longing, the impossibly private nature of affection, and the occultation of time. Its poignancy is universal; transcending gender, age, era, place, and even translation. Rather than rely on one particular translation of Cavafy’s text, I’ve drawn on a number of versions to arrive at a paraphrase that both informs and is shaped by the musical score.

    The musical setting is a sonic image of the intensely emotional response to a flood of memory that informs the poet’s narrative: now pensive, now anxious, now wistful, now joyous, now fraught, now resigned, and ever mercurial."  P. H. Bloom, September 19, 2015

    Our sheet music edition of From the Drawer was featured on the New Products page of the Summer 2016 edition of "The Flutist Quarterly", journal of The National Flute Association.

    Score, 14 pages; Tenor or Soprano part, 2 pages; Flute part, 4 pages; Clarinet part, 3 pages; Bassoon part, 3 pages; Horn part, 3 pages; Total, 29 pages.

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    We also offer a professionally-printed hard copy edition of From the Drawer for $23.78 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.

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

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


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


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

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

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

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

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  • 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.  Click to preview p1 of the score.

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

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

    foster.old folks nsmOld 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 ©

     

    Please click to preview a page of the Score for Foster's "Old Folks at Home" with flute and cello ad lib.

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

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  • Kalliwoda - In die Ferne - Voice, Violin/Flute, & Piano

    kalliwoda in die ferne cover image 240pxIn die Ferne, Op.98, No.1, by J. W. Kalliwoda

    Facsimile Edition plus Transcription of Violin part for Flute by C.A.Vater

    Score for Violin, Voice, & Piano, Violin Part, Flute Part, PDF $5.99

    Johann Wenzel Kalliwoda (1801‒1866) was a Bohemian violinist, conductor, and composer who spent much of his career in Donaueschingen, where he served as the conductor of the court orchestra for Prince Karl Egon II of Fürstenberg.  Kalliwoda composed numerous works, including operas, symphonies, pieces for piano, violin and orchestra, and chamber music.

    Kalliwoda's song In die Ferne (Far Away) was published in a nineteenth century collection of lieder, along with several songs by Hauptmann and Reinecke.  The vocal range of In die Ferne extends from E4 to G#5, and thus is well-suited for either soprano or mezzo-soprano.  Our edition contains "enhanced" facsimiles of the original score (violin, voice, and piano) and violin part, plus a transcription of the violin part for flute created using a modern music notation program. Therefore, In die Ferne may be performed using the accompaniment of either violin or flute, along with the voice and piano.  Click here to preview p1 of the score.

    Score, 6 pages; Violin and Flute parts, 1 page each; Total, 12 pages.

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    U.S. customers may purchase professionally-printed hard copies of In die Fernefor $10.18 plus a $5.95 shipping and handling fee.  Please use the Contact Us form to let us know which print edition(s) you would like to purchase, along with your contact information and your USPO mailing address.

  • Reinecke - Lieder - Voice, Violin (Fl/Afl), Piano

    reinecke.op.26 afl.fl 240Waldesgruss and Frühlingsblumen, Op.26, by C. Reinecke

    Facsimile Edition plus Transcriptions for Flute & Alto Flute by C.A.Vater

    Score for Violin, Voice, & Piano, Violin Part, Flute & Alto Flute Parts, PDF $9.98

    Carl Reinecke (1824-1910) was a renowned German pianist, composer, conductor, and teacher of composition.  He composed numerous works, and for over 35 years was a leader of the music scene in Leipzig.  Reinecke's Op.26 includes two songs for voice with accompaniment of violin and piano: No.1, Waldesgruss (The Forest's Greeting); and No.2, Frühlingsblumen (Spring Flowers). The vocal range of Reinecke's Op.26 lieder extends from C4 to A5, and thus is well-suited for either soprano or mezzo-soprano.

    Our edition contains an "enhanced" facsimile of the original score and violin part, plus new transcriptions of the violin part for either alto flute or flute.  Thus, the two songs may be performed utilizing the accompaniment of violin, alto flute, or flute, along with the voice and piano.  Alternatively, these pieces work very well as an instrumental arrangement with the voice part played on flute, accompanied by alto flute and piano.  Click here to preview p1 of the score.

    Score, 6 pages; Violin, Alto Flute, and Flute parts, 2 pages each; Total, 18 pages.

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  • Samolis - Canal - Soprano & Flute

    Samolis.Canal.Cover.webCanal, by Matt Samolis

    Contemporary Composition for Soprano and Flute, PDF $13.95

    Matt Samolis began studying flute, then later composition and tenor banjo. He has worked with ensembles at New England Conservatory, Brandeis University, and Tufts University, as well as Open Hand Theatre, Pilgrim Research Collaborative, and numerous other projects.  Currently, his primary focus is composition, curating, and performing as a flutist with various local groups, as well as his drone alliance, The Metal & Glass Ensemble.

    Canal is written in a free, self referential style, and uses the text of Roy Campbell's poem of the same name, written in 1920.  Despite the somber text, the mood is idyllic and somewhat reminiscent of the contemporary musical language in use at that time.  Each player also has a brief ad lib section, where they can interpret the material as they choose.  Click to preview p1 of the score

    Click to listen to two snippets of an audio recording of Canal, performed by soprano Noell Dorsey and composer/flutist Matt Samolis:    mp3 icon Canal Owlseyes     mp3 icon Canal Whiteflame

    Or listen to the full recording on Matt's website.

    Score for Soprano and Flute, 5 pages; Total, 7 pages.

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    US customers may purchase professionally-printed hard copies of Canalfrom Noteworthy Sheet Music for $20.93 plus a $5.95 shipping and handling fee.  Please use the Contact Us form to let us know which print edition(s) you would like to purchase, along with your contact information and your USPO mailing address.

  • Schubert - Auf dem Strom - Vo/Cl/Pf

    Schubert Auf-dem-Strom VoClPf nsmAuf dem Strom, Op.119, by Franz Schubert

    Obbligato transcribed for A-Clarinet by C. A. Vater

    Piano Score and Parts for Voice and A-Clarinet, PDF $9.50

    The great Austrian composer Franz Peter Schubert (1797-1828) was a master at creating extremely beautiful, melodic, emotional lieder. His song Auf dem Strom (On the River) provided a musical setting for the text of the eponymous poem written by the German poet and music critic Ludwig Rellstab. The lyrics tell the story of a sad parting, of the yearning and loneliness that sets in as the narrator bids farewell to a loved one on shore, while his river journey carries him away towards the sea. The premier performance of Auf dem Strom took place in Schubert’s 1828 public concert, during which the obbligato part was played by Josef Lewy on horn, the instrument for which the obbligato was written and which undoubtedly can provide an appropriately mournful, sentimental character to the piece. However, an alternate obbligato version for cello was also published. Now, with all respect, we provide an A-clarinet version of the obbligato, in expectation that clarinetists will appreciate this addition to the voice/clarinet/piano repertoire. We believe that a well-played clarinet can aptly contribute a suitably complex, dolorous essence and tone that will adequately do justice to this highly romantic lied by Schubert. Schubert himself created one of his most wonderful and popular works, Der Hirt auf dem Felsen, for clarinet obbligato, and we hope he would welcome our adaptation of Auf dem Strom for A-clarinet.

     

    Score, 19 pages; Voice part, 4 pages; A-Clarinet part, 4 pages; Total, 32 pages.

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