Flute,Piano - Level 3 - Digital Download

SKU: A0.549636

Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 16 pages. Jmsgu3 #3516309. Published by jmsgu3 (A0.549636).

Duration: ca 5:20, Score: 8 pages, solo part: 3 pages, piano part: 4 pages. One of Beethoven's finest and most famous works. Program for a recital, church meditation or school program.

Sonata Pathétique Op. 13

First of all, this is an arrangement of the second movement of Beethoven’s Sonata Pathétique. It seems like Beethoven wrote this piece before becoming troubled by deafness. Published in 1799, it consequently remains one of the most celebrated pieces Beethoven ever wrote. As a result of its popularity, the movement was therefore performed by Karl Haas. Hass recorded it for a popular radio show called: Adventures in Good Music.

Beethoven Background

Ludwig van Beethoven (1770 –1827) was certainly a German pianist. Above all, he was probably one of the greatest composers in history. As a result, he is a pivotal character in the progress between the Classical and Romantic periods. He is certainly one of the most famous and hence important of all composers. Seems like his most familiar and noteworthy works include symphonies 1-9; piano concertos 1-5; and furthermore, the violin concerto. Also, certainly of extreme importance are the noteworthy 32 sonatas for the piano; the string quartets 1-16; the Missa solemnis; and likewise, his only opera, Fidelio.

Beethoven Overview

First of all, Beethoven was born and consequently raised in Bonn. Upon turning 21 he moved to Vienna probably to study composition with Haydn. That’s when he consequently grew a reputation as a brilliant pianist. Furthermore, he probably stayed in Vienna for the rest of his life. In his late 20s, it seems like his hearing certainly began to decline. It slowly declined until consequently, he was nearly totally deaf probably by the last decade of his life. As a result, he stopped conducting and performing. Nevertheless, he continued to compose. As a result, some of his greatest works probably come from this period.

First Period

Seems like we often divide Beethoven’s life into three periods. Period 1 begins with Beethoven’s arrival in Vienna. Hence, during this period, he mastered the Viennese style of Haydn & Mozart. He consequently began increasing the size and scale of his works. Furthermore, he experimented with extreme dynamics, and likewise extreme tempi. He worked similarly with chromatic harmony. His First and Second Symphonies, therefore, belong to this period. Other important works also belong here: the first six string quartets and the Sonata Pathétique, Op. 13.

Second Period

His second period probably began as soon as he realized that he was going deaf. During this period, it seems like he became obsessed with the idea of heroism. His works consequently become even larger and more massive. The most noteworthy of these include the symphonies 3 – 8, piano concertos 5& 6, 5 string quartets, several important piano sonatas (Waldstein and Appassionata), the Kreutzer violin sonata, the violin concerto and his only opera: Fidelio.

Third Period

In contrast, Beethoven's third period is branded above all by works of incredible intellectual depth, formal innovation, and penetrating expression. It seems like he continued to expand his works. Consequently, the string quartet Op. 131 spills over into seven connected movements. Likewise, in the Ninth Symphony, he adds choral forces to his orchestra probably for the first time in history. Even more, other works from this period include his Missa solemnis, the final 5 string quartets (including the enormous Große Fuge) and the final five sonatas for piano.

 

 

Flute,Piano - Level 5 - Digital Download

SKU: A0.1042377

Composed by Jamie Farrow. Classical,Contemporary. Score and part. 12 pages. Jamie Farrow #647168. Published by Jamie Farrow (A0.1042377).

This is a piece for flute and piano duo. Fastnet Rock, home to the Fastnet Lighthouse, is Ireland’s most southerly point situated in the Atlantic Ocean, famous for massive waves that engulf the island during storms. Three photographs (see below) and the lighthouse’s history were my inspiration for this duet, with the different images and ideas that they created, influencing my composition’s structure, themes and ideas at play. The piece starts at sunset and finishes at sunrise, with four sections each representing a different moment that follow a gradually developing structure through the first three sections before a gentle reprise of the ideas from Section 1 (S1) in Section 4 (S4). This gives a cyclicity to the piece, furthered by the tonal regions explored in each of the sections; Ebmaj to Amin to Bmin to Amin to Ebmaj. S1 invokes thoughts of the colours of sunset It is divided into four sub-sections, characterised by either solo flute or flute with piano, with each section exploring a different range of colours generated by their keys. Throughout, accidentals provide additional colour reminiscent of light diffracted during a sunset with the piano in the duo section voiced low in its range adding warmth explored through pivot chords. The flute plays in a very free recitative style, allowing the flautist individual expression emphasising the organicity of sunset as each performer will express this section differently. Section 2 (S2) and Section 3 (S3) are closely related, focusing on night-time through to sunrise in S4, with S2 providing the build up to the events of S3. In S2 the piano plays at the extremes of its range with widely spaced chords and no sense of beat, creating stillness and a sense of uneasiness through the constantly and irregularly beating A. The flute represents the rising storm and wind playing an organically-evolving motif beginning low in range, before gradually adding more notes and slowly rising, eventually reaching a dramatic climax which explores the extremities of its range whilst accelerating into S3. The drama and large gestures of S3 represent an Atlantic storm, a wall of oscillating sound through repeated piano ostinatos and constant use of the sustain pedal. Coupled with the frequently changing time-signature creating a sense of wild waves rolling in the ocean, the chordal bars percussively suggesting waves hitting the island. The flute captures the drama and emotion of the storm and the whistling wind, with long rising and falling gestures exploring the instrument’s very extremities. S4 brings the morning after the storm. We hear the same flute idea as in S1, this time played in the sadder Amin, communicating a sense of loss and despair following the storm. The piano emulates the now gently lapping waves against the rocks of Fastnet with the triplet motif in the bass. The right-hand of the piano plays a chordal accompaniment as in S1 but much slower, representing the slowly emerging colours of a sunrise which become richer and richer like the chords before the sunrise in the final few bars with a move into Ebmaj.

Flute and orchestra - difficult - Digital Download

SKU: S9.Q25027

For flute and orchestral groups. Composed by Joerg Widmann. This edition: piano reduction with solo part. Il Flauto traverso. Downloadable, Piano reduction with solo part. Duration 22 minutes. Schott Music - Digital #Q25027. Published by Schott Music - Digital (S9.Q25027).

This ‚Suite’ is not one of my ‘epic’ instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom. Almost every individual movement allots the solo flute a specific tonal colouring and an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra (including alto and bass flute and later also piccolo to include the entire flute family); the string section in the Sarabande; in both chorales (extremely muted in the first and brutalist in the second), the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously. This permits the flute to remain the provider of all impulses; it attaches itself to the wide variety of instrumental colours, becomes suffused with these colours and thereby shines in different lights – acerbic, pale and radiant. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound (which is indeed treated as such with the sum of its parts) and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flûte en suite. Jörg Widmann

This ‚Suite’ is not one of my ‘epic’ instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom. Every individual movement allots the solo flute an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra; the string section in the Sarabande; in both chorales the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flûte en suite. Jörg Widmann

3 (2. auch Altfl., 3. auch Bassfl., alle auch Picc.) · 3 (2. auch Ob. d’am., 3. auch Engl. Hr.) · 0 · 3 (3. auch Kfg.) - 4 · 4 · 3 · 1 - S. (Glsp. · Vibr. · 3 hg. Beck. [h./m./t.] · chin. Beck. · 4 Gongs · 4 Buckelgongs · 2 Tamt. [m./t.] · Wassertamt. · gr. Tr. · Metal Chimes · Peitsche) (2 Spieler) - Hfe. · Cel. (auch Cemb.) - Str. (10 · 8 · 6 · 4 · 3).

Piano,Soprano Flute - Level 2 - Digital Download

SKU: A0.1408962

Composed by Antonio Vivaldi. Arranged by Glauco Fernandes. Baroque,Chamber,Classical,Instructional,Wedding. Score and part. 3 pages. Glauco Fernandes #991568. Published by Glauco Fernandes (A0.1408962).

Dive into the exuberance of the Baroque era with our exclusive arrangement of Antonio Vivaldi's La Primavera (The Spring) from The Four Seasons. Tailored for musicians who are honing their skills at the intermediate level, this arrangement captures the joyful and rejuvenating spirit of spring, making it a valuable addition to the repertoire of both developing students and professionals seeking practicality and versatility in their performances.

For educators and music teachers, this score represents an excellent pedagogical tool, introducing students to Vivaldi's distinctive style and the depth of Baroque music in a way that is both challenging and accessible. It offers an opportunity for technical and expressive growth, enriching students' repertoire with one of the most celebrated works of classical music.

Beyond being ideal for those advancing musically, this arrangement is also extremely useful for professional musicians looking to expand their repertoire with pieces that combine elegance and simplicity for special occasions, such as weddings. The iconic nature and timeless beauty of La Primavera ensure its warm reception at any event, providing performers with the chance to shine with a work of recognized mastery.

Thus, our arrangement emerges as a versatile choice, promising to enrich both the musical learning of students and the repertoires of professional musicians with a piece that is both accessible and deeply expressive. It maintains the essence and charm of Vivaldi's original composition, promising to be an enriching experience for all involved.

Tags: intermediate sheet music, Antonio Vivaldi, The Four Seasons, La Primavera, Baroque music, music education, versatile arrangement, repertoire for events, wedding music, musical growth, classical music.

Piano,Soprano Flute - Level 2 - Digital Download

SKU: A0.1408961

Composed by Antonio Vivaldi. Arranged by Glauco Fernandes. Baroque,Chamber,Classical,Instructional,Wedding. Score and part. 3 pages. Glauco Fernandes #991567. Published by Glauco Fernandes (A0.1408961).

Dive into the exuberance of the Baroque era with our exclusive arrangement of Antonio Vivaldi's La Primavera (The Spring) from The Four Seasons. Tailored for musicians who are honing their skills at the intermediate level, this arrangement captures the joyful and rejuvenating spirit of spring, making it a valuable addition to the repertoire of both developing students and professionals seeking practicality and versatility in their performances.

For educators and music teachers, this score represents an excellent pedagogical tool, introducing students to Vivaldi's distinctive style and the depth of Baroque music in a way that is both challenging and accessible. It offers an opportunity for technical and expressive growth, enriching students' repertoire with one of the most celebrated works of classical music.

Beyond being ideal for those advancing musically, this arrangement is also extremely useful for professional musicians looking to expand their repertoire with pieces that combine elegance and simplicity for special occasions, such as weddings. The iconic nature and timeless beauty of La Primavera ensure its warm reception at any event, providing performers with the chance to shine with a work of recognized mastery.

Thus, our arrangement emerges as a versatile choice, promising to enrich both the musical learning of students and the repertoires of professional musicians with a piece that is both accessible and deeply expressive. It maintains the essence and charm of Vivaldi's original composition, promising to be an enriching experience for all involved.

Tags: intermediate sheet music, Antonio Vivaldi, The Four Seasons, La Primavera, Baroque music, music education, versatile arrangement, repertoire for events, wedding music, musical growth, classical music.