Antonín Emil Titl  

SKU: A0.1035207

The French violinist Henri Vieuxtemps wrote Souvenir d’Amérique, opus 17 for violin and piano, in 1843, during his first concert tour in the United States. This set of variations, based on the melody of the popular song Yankee Doodle, became the entertaining surprise encore piece at Vieuxtemps’ recitals. Its humorous spirit, together with its virtuosic firework displays and imaginative use of playing techniques, made Souvenir d’Amérique an instant audience favorite.

My flute  arrangement of this work is based on the original edition and the excellent arrangement for flute and piano made by the Italian virtuoso  Alberto Roberti (1833-1908). While adapting it for flute  and string orchestra, I realized that small compositional changes would be necessary to make it successful as a flute piece, at the same time, I always tried to preserve the composer’s original musical effects. I also added several register changes to the String orchestra  parts as well as dynamic indications.I very much hope that this brilliant musical gem will be a welcome addition to the flute repertoire and that it will give joy and pleasure to both the player and the listener.

James Strauss

SKU: A0.1035223

Toward the end of 1791 Mozart wrote his famous concerto for basset clarinet and orchestra, known today as the Clarinet Concerto, K.622. It appeared in print for the first time ten years later, when it was published simultaneously by Breitkopf Härtel, André and Sieber. In the same year, Breitkopf also published an arrangement for flute in G major by A. E. Müller, adding to the rich musical history of the early 19th century. Also was found a second source at the Berlin Staat Bibliotek by an anonymous arranger. This arrangement is now available for the first time in a modern edition, this edition has been based his edition on the Berlin Manuscript and the first edition of 1801.

The piano reduction takes into account the performance practice of the time.


- First modern edition
- Important and welcome addition to the flute repertoire
- Reliable edition by Christopher Hogwood.

SKU: A0.1035211

Paul Agricole Génin (Avignon, 14 February 1832 - Paris 22 December 1903) was a French flautist and composer for flute. He was a student of Louis Dorus and became first flute at the Théâtre-Italien (Comédie-Italienne) and later at Concerts Cologne both in Paris, he composed 60 pieces for flute , and his famous Carvanal de Venice op.14 its dedicated to his friend Eugene Damaré. Here for flute and string orchestra.

SKU: A0.1035224

Unless your name is Mozart, Mendelssohn or Korngold, the first compositional steps are always the hardest. Chopin was probably no older than 14 when he set to work on a set of variations for piano and flute. Already in love with opera, he decided on the happy- ending aria, Non più mesta (No longer sad) from Rossini’s opera Cinderella. As the curtain comes down, Cinderella gleefully warbles, No longer sad beside the fire shall I sit alone, singing; my long years of heartache were but a streak of lightning, a dream, a game. We are unsure what actually prompted Chopin to select this for his unique combination of flute and piano, but it was most likely written for the composer’s father who was a capable amateur flute player. In the end, the piece was probably dedicated to Józef Cichowski, a close friend of his fathers and an amateur flautist as well. We are indeed fortunate that this early piece of Chopin juvenilia has actually survived, as Jozef Nowakowski, one of the composer’s friends, kept the single manuscript copy as a memento. For one reason or another, the work did not appear in print until 1953. This charming and fluent set of variations presents the theme and four decorated versions of the original tune. Added triplet figuration enlivens the first variation, while the second relies on a florid bel canto style to embellish the theme. Rapid downward arpeggios propel variation three, and the concluding variant displays rapid staccato figuration. Stylistically, there is nothing in this composition to suggest Chopin’s hand. You certainly won’t hear Chopin’s fingerprint in the piano part, as all the interesting bits are given to the flute. In addition, it’s the only Chopin piano part that can comfortably be played by most amateurs. Clearly, the future poet of the piano had a long way to go! Here in a Flute and orchestra version.