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Romance for Alto Flute and Piano

Variations on 'La Ci Darem la Mano'

Ludwig van Beethoven's Variations on 'La ci darem la mano' from Wolfgang Amadeus Mozart's Don Giovanni was originally composed in 1795 for two oboes and English horn. Shelley Collins has made it possible to perform this delightful arrangement in a variety of combinations of flutes: Two C Flutes and Alto Flute, Two Alto Flutes (in G) and Bass Flute, or Three Similar Flutes. Ludwig van Beethoven's Variations on 'La ci darem la mano' from Wolfgang Amadeus Mozart's Don Giovanni was originally composed in 1795 for two oboes and English horn. Shelley Collins has made it possible to perform this delightful arrangement in a variety of combinations of flutes: Two C Flutes and Alto Flute, Two Alto Flutes (in G) and Bass Flute, or Three Similar Flutes.

Meditation

An original work for Alto Clarinet (in E-flat) or Basset Horn (in F) and Piano based on "The Little Prelude in C minor" by J.S. Bach. Much like Charles Gounod based his "Ave Maria" on the first prelude of the Well-Tempered Clavier, Dan Fox has created a beautiful melody which floats over the accompaniment. This work can be played with either an Alto Clarinet or a Basset Horn. An original work for Alto Clarinet (in E-flat) or Basset Horn (in F) and Piano based on "The Little Prelude in C minor" by J.S. Bach. Much like Charles Gounod based his "Ave Maria" on the first prelude of the Well-Tempered Clavier, Dan Fox has created a beautiful melody which floats over the accompaniment. This work can be played with either an Alto Clarinet or a Basset Horn.

Variations on Theme by Pleyel

Czech violinist Franz Krommer (1759-1831), who composed over 300 works of his own, freely borrowed from Ignace Joseph Pleyel’s String Quartet in F Major to create this set of variations for two oboes and English horn. Shelley Collins has made it possible to perform this delightful arrangement in a variety of combinations of flutes: Two C Flutes and Alto Flute, Two Alto Flutes (in G) and Bass Flute, or Three Similar Flutes. Czech violinist Franz Krommer (1759-1831), who composed over 300 works of his own, freely borrowed from Ignace Joseph Pleyel’s String Quartet in F Major to create this set of variations for two oboes and English horn. Shelley Collins has made it possible to perform this delightful arrangement in a variety of combinations of flutes: Two C Flutes and Alto Flute, Two Alto Flutes (in G) and Bass Flute, or Three Similar Flutes.

Adagio and Allegro, Op. 70

Robert Schumann (1810-1856), composed this Adagio and Allegro, Op. 70, for horn and piano in 1859. Along with the Fantasy Pieces for clarinet and piano, and the Three Romances for oboe and piano, it rounds out his small yet important output of solo repertoire for wind instruments. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn. Robert Schumann (1810-1856), composed this Adagio and Allegro, Op. 70, for horn and piano in 1859. Along with the Fantasy Pieces for clarinet and piano, and the Three Romances for oboe and piano, it rounds out his small yet important output of solo repertoire for wind instruments. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.

Twelve Duets, K. 487 for Flute and Alto Flute

Apres un Reve

Although mostly known for his orchestral music and Requiem, Gabriel Faure (1845 - 1924) composed more than 70 works for voice and piano, and was once commended by Maurice Ravel for saving French vocal music from the dominance of the German lied. One of the most famous of these art songs, Apres un reve (Op. 7, No. 1) is arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.Although mostly known for his orchestral music and Requiem, Gabriel Faure (1845 - 1924) composed more than 70 works for voice and piano, and was once commended by Maurice Ravel for saving French vocal music from the dominance of the German lied. One of the most famous of these art songs, Apres un reve (Op. 7, No. 1) is arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.

Sonata in F Minor

Georg Philipp Telemann (1681-1767), is one of the most prolific composers of all time. He wrote a great amount of music for wind instruments, including many concerti and sonatas for flute, oboe and bassoon. The Sonata in F Major for bassoon and basso continuo, composed in four movements (Triste, Allegro, Andante, Vivace), was originally included in the collection Der getreue Musikmeister, dating back to 1728. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.Georg Philipp Telemann (1681-1767), is one of the most prolific composers of all time. He wrote a great amount of music for wind instruments, including many concerti and sonatas for flute, oboe and bassoon. The Sonata in F Major for bassoon and basso continuo, composed in four movements (Triste, Allegro, Andante, Vivace), was originally included in the collection Der getreue Musikmeister, dating back to 1728. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.

Fantasia on Land of the Silver Birch

Land of the Silver Birch is a well-known, well-loved traditional song sung widely around campfires across the Canadian province of Ontario. In this fantasia setting the colors of the alto and bass flutes as well as those of the two piccolos are particularly featured. Land of the Silver Birch is a well-known, well-loved traditional song sung widely around campfires across the Canadian province of Ontario. In this fantasia setting the colors of the alto and bass flutes as well as those of the two piccolos are particularly featured.

Four Sonatas, Op. 12 : for Two Alto Flutes and Bass Flute

Lyrische Pastorale

Lodewijk Mortelmans was born in Antwerp on February 5, 1868, as second son of printer Karel Mortelmans. He died on June 24, 1952. He was an outstanding, universal Belgian musician and composer. His unique and poetic classical songs, his intimate and delicate piano music and his imaginative orchestral pieces rank among the European masterworks of the end of the 19th and the early 20th century. His Lyrische Pastorale, originally for horn and orchestra, has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.Lodewijk Mortelmans was born in Antwerp on February 5, 1868, as second son of printer Karel Mortelmans. He died on June 24, 1952. He was an outstanding, universal Belgian musician and composer. His unique and poetic classical songs, his intimate and delicate piano music and his imaginative orchestral pieces rank among the European masterworks of the end of the 19th and the early 20th century. His Lyrische Pastorale, originally for horn and orchestra, has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.

Nachtpoema

Prosper Van Eechaute (1904-1964), born in Ghent, was a Belgian composer, conductor and teacher. While a student at the Ghent Royal Conservatory, he was awarded first prize for cello, harmony, chamber music, counterpoint and fugue, in addition to the Emile Mathieu prize for composition in 1930. His Nachtpoema for Horn and Orchestra (or Piano), was written in 1938, however the premiere took place towards the end of his life in 1962, with Maurice Van Bocxstaele as the horn soloist. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.Prosper Van Eechaute (1904-1964), born in Ghent, was a Belgian composer, conductor and teacher. While a student at the Ghent Royal Conservatory, he was awarded first prize for cello, harmony, chamber music, counterpoint and fugue, in addition to the Emile Mathieu prize for composition in 1930. His Nachtpoema for Horn and Orchestra (or Piano), was written in 1938, however the premiere took place towards the end of his life in 1962, with Maurice Van Bocxstaele as the horn soloist. Here, it has been arranged here for either Alto Clarinet (in E-flat) or Basset Horn (in F) and piano. This work can be played with either an Alto Clarinet or a Basset Horn.

Ten Pocket-Sized Trios

Ten Pocket-Sized Trios is a collection of vignettes arranged for flute, guitar, and cello by Jan Boland (with guitar adaptations by John Dowdall). For two of the titles, there is an alto flute transposition of the C flute part. Additionally, for the entire collection, the cello part can be considered optional. Ten Pocket-Sized Trios is a collection of vignettes arranged for flute, guitar, and cello by Jan Boland (with guitar adaptations by John Dowdall). For two of the titles, there is an alto flute transposition of the C flute part. Additionally, for the entire collection, the cello part can be considered optional.

Aus Liebe will mein Heiland sterben

Johann Sebastian Bach (1685 – 1750) composed St. Matthew’s Passion, BWV 244, in the 1720s and it is believed that the first performance took place on April 11, 1727 at the St. Thomas Church in Leipzig. The music arranged here for Flute Quartet is the heart-wrenching aria, “Aus Liebe will mein Heiland sterben,” extracted from the middle of the second part of the work. To set the scene, the aria comes after Jesus has been presented to the multitudes in a fast a furious, rowdy double orchestra and choir exclamation, and is condemned to death by crucifixion. Out of this outcry, the solitary flautist and soprano singer reflect on the question of sin, judgement and punishment. In thismost hauntingly vulnerable aria, Bach manages to find both beauty and fragility to reflect upon this question. Using the parts provided, this arrangement can be performed as either a quartet with 3 C Flutes and Alto Flute, or as a quartet with 3 Alto Flutes and Bass Flute. For the latter, the Alto Flutes are to play the original C Flute parts, and the Bass Flute plays the supplemental part provided. Johann Sebastian Bach (1685 – 1750) composed St. Matthew’s Passion, BWV 244, in the 1720s and it is believed that the first performance took place on April 11, 1727 at the St. Thomas Church in Leipzig. The music arranged here for Flute Quartet is the heart-wrenching aria, “Aus Liebe will mein Heiland sterben,” extracted from the middle of the second part of the work. To set the scene, the aria comes after Jesus has been presented to the multitudes in a fast a furious, rowdy double orchestra and choir exclamation, and is condemned to death by crucifixion. Out of this outcry, the solitary flautist and soprano singer reflect on the question of sin, judgement and punishment. In thismost hauntingly vulnerable aria, Bach manages to find both beauty and fragility to reflect upon this question. Using the parts provided, this arrangement can be performed as either a quartet with 3 C Flutes and Alto Flute, or as a quartet with 3 Alto Flutes and Bass Flute. For the latter, the Alto Flutes are to play the original C Flute parts, and the Bass Flute plays the supplemental part provided.

Sleep, My Dearest, Enjoy Thy Rest

“Sleep, My Dearest, Enjoy Thy Rest” is an alto aria from the second section of the Christmas Oratorio of Johann Sebastian Bach. The cantata tells the story of the angel’s visitation to the shepherds. Written for the Christmas season of 1734, the original version of the Christmas Oratorio consists of six cantatas, each celebrating one of the festival days of the Christmas season. “Sleep, My Dearest, Enjoy Thy Rest” is an alto aria from the second section of the Christmas Oratorio of Johann Sebastian Bach. The cantata tells the story of the angel’s visitation to the shepherds. Written for the Christmas season of 1734, the original version of the Christmas Oratorio consists of six cantatas, each celebrating one of the festival days of the Christmas season.

Nuraghi Warriors Dance

Anže Rozman's Nuraghi Warriors Dance (Ples Bojevnikov Nuraghi) paints an image of ancient violence and drama - a frenzied ritual of war. Rozman extends the reach of the flute trio by using a piccolo, C flute, and alto flute to deepen and heighten driving rhythms and violent outbursts. Complex changing time signatures allow the rhythmic drive of the piece to flex and elongate, with mad hints of Stravinsky appearing and disappearing. Anže Rozman's Nuraghi Warriors Dance (Ples Bojevnikov Nuraghi) paints an image of ancient violence and drama - a frenzied ritual of war. Rozman extends the reach of the flute trio by using a piccolo, C flute, and alto flute to deepen and heighten driving rhythms and violent outbursts. Complex changing time signatures allow the rhythmic drive of the piece to flex and elongate, with mad hints of Stravinsky appearing and disappearing.

Fantasia on Red River Valley

While the tune "Red River Valley" itself is known by several different titles and there are a number of versions of the lyrics, it is certainly one of the most beautiful American folk songs. The lyrics Kelly Via has chosen to work with in this Fantasia on Red River Valley are perhaps the most poignant, the text of each verse inspiring the musical setting. The bass and alto flutes at the beginning and end of the piece represent the heartbroken cowboy as he learns that his love is leaving, while the sound of the wind adds to his feelings of loneliness and despair. By the fourth verse, his pain and frustration gives way to a gentle remembrance of the love they once shared.While the tune "Red River Valley" itself is known by several different titles and there are a number of versions of the lyrics, it is certainly one of the most beautiful American folk songs. The lyrics Kelly Via has chosen to work with in this Fantasia on Red River Valley are perhaps the most poignant, the text of each verse inspiring the musical setting. The bass and alto flutes at the beginning and end of the piece represent the heartbroken cowboy as he learns that his love is leaving, while the sound of the wind adds to his feelings of loneliness and despair. By the fourth verse, his pain and frustration gives way to a gentle remembrance of the love they once shared.

Divertimento No. 2

Divertimento No. 2 was composed in 2016 to showcase Flute Street, a Toronto-based, professional flute ensemble in which Isaac's mother, Carolyn Ricketts, is a founding member. Flute Street first performed the work that November in Toronto and then, because of its generous attention to the melodic possibilities of the alto, bass and contrabass flute colours, chose to premiere it in Reston, Virginia (U.S.A.) at the First International Low Flutes Festival in April 2018. The composer notes "As with my other Divertimenti, this work deals with how similar elements can create contrast. The homogeneous timbre of the flute choir is used in this work to highlight the formal contrasts thatare at play. Structured in an arch form, the work starts with a complex harmonic language that gradually simplifies. As the harmonic language simplifies, the accompaniment becomes more complex." Divertimento No. 2 was composed in 2016 to showcase Flute Street, a Toronto-based, professional flute ensemble in which Isaac's mother, Carolyn Ricketts, is a founding member. Flute Street first performed the work that November in Toronto and then, because of its generous attention to the melodic possibilities of the alto, bass and contrabass flute colours, chose to premiere it in Reston, Virginia (U.S.A.) at the First International Low Flutes Festival in April 2018. The composer notes "As with my other Divertimenti, this work deals with how similar elements can create contrast. The homogeneous timbre of the flute choir is used in this work to highlight the formal contrasts thatare at play. Structured in an arch form, the work starts with a complex harmonic language that gradually simplifies. As the harmonic language simplifies, the accompaniment becomes more complex."