Arrangeur: Jeffrey Beyer. Six vocal works arranged for alto flute and piano by Jeffrey Beyer,/ Recueil / Flûte Traversière Alto et Piano
SKU: SU.91409192
Modernism Forever Volume One - Fulkerson, Carter, Davies Disc 1 1. The Childermass (Live) Christopher Fulkerson & The Composers Chamber Players - 14:16 2. E Io Etterno Duro (And Eternal I Endure) [Live] (Dante) for solo male sextet Christopher Fulkerson & Chanticleer - 6:48 3. Double Blizzard First Michelangelo Fantasy for violin and bass Christopher Fulkerson - 7:27 4. Clothes Another's Hand (Live) 2nd Michelangelo Fantasy for string trio Christopher Fulkerson & Friends of CF - 9:04 5. With Its Billowing Hair (Live) 4th Michelangelo Fantasy for violin and string John Casten, Christopher Fulkerson & Friends - 13:03 6. Scritti Di Leonardo (Live) for tenor, SATB soli, & five players Christopher Fulkerson, Patrick Neve, Ariel & The SFCMP - 18:23 7. Concerto for Harpsichord (Live) and seven instruments Christopher Fulkerson, Jonathan Shiff, Eric Hansen & the Intercampus Cultural Exchange - 9:04 Disc 2 1. Astraea in the Field of Stars for guitar and string quartet Christopher Fulkerson - 9:01 2. Echoes of Hart Crane (Live) for vocal ensemble SSAATTBB Christopher Fulkerson & Ariel - 3:03 3. The Sweep of Their Lyre Echoes of Our Bards I for instrument sextet Christopher Fulkerson - 7:25 4. The Rush of Their Verse Echoes of Our Bards II for eleven instruments Christopher Fulkerson 5. Mere Magic Music (Live) Part One of the Magic Cycle for eight antiphonal voices Christopher Fulkerson & The Virtuose - 6:42 6. Pour Jean-Louis for solo harp Christopher Fulkerson - 0:31 7. Tomb of Taillevant for alto flute and guitar Christopher Fulkerson - 1:41 8. Syringa (Live) by Elliott Carter for mezzo, baritone, guitar & ensemble Christopher Fulkerson & The Composers Chamber Players - 19:36 9. Westerlings (Live) by Peter Maxwell Davies Christopher Fulkerson & Ariel.
SKU: PR.114422360
ISBN 9781491133828. UPC: 680160683321. 9 x 12 inches.
Based on an Armenian troubadour song, I WILL NOT BE SAD IN THIS WORLD is a uniquely beautiful work for alto flute (or bass flute) accompanied by a pre-recorded audio track made purely from the composer’s own singing. The result is a fluid interplay between the live flute and the composer’s multi-tracked and processed vocal sonorities. The work was created for Marya Martin’s “Eight Visions” collection (published by Presser), and is now available as a single publication.I will not be sad in this world is based on the song “Ashkharumes Akh Chim Kashil” by the legendary 18th-century Armenian troubadour Sayat Nova. The song is often played on the duduk, and your flute playing should respond to the ornamentation, intonation, and vibrato of traditional duduk playing.In playing this piece, you will want to be flexible with time: the 32nd notes are mostly notated grace notes coloring the following note, and can be compressed towards that next note for effect. Similarly, the meter should be downplayed: use the pre-recorded part to give you guideposts, and then shape your phrases quite freely around those guideposts.I strongly suggest that you listen to my demo recording of the piece, as it will give an indication of what I am looking for. I have not transcribed every note that I sang on the demo, and similarly, once you feel comfortable with the playing style, you can ornament the melody with some flexibility yourself. The notated turns are meant to indicate places where it is most natural to do some ornamentation.The piece can be played on either alto flute or bass flute. I am hoping for a certain vulnerability in your playing, so choose the flute that will help you most with that. If you are playing in a dry hall, you might consider slight amplification, not for volume, but to allow you to add reverb to your sound. It will then be easier to blend well with the tape part.Optionally, one (or even two) additional flutists may double the lines called “voice” that are part of the tape part. The additional player(s) should play more softly than the soloist, and get even softer as the piece progresses and the electronics take over.* * *Thanks to Marya Martin who commissioned the piece. Many thanks to my friend and colleague Margaret Lancaster, who tried out the piece for me and advised me about notation. Thanks also to the Civitella Ranieri Foundation who were my generous hosts while I was writing I will not be sad in this world.The audio accompaniment and the demo are available for free download from the “Additional Downloads” tab at www.presser.com/114-42236 .
SKU: CA.1124500
ISBN 9790007164157.
Orig inal compositions for mezzo-soprano or alto, recorder and basso continuo. The 12th volume in the series Flauto e voce is full of surprises, with first editions of a single surviving aria by George Frideric Handel (HWV 214) and a bird aria by Attilio Ariosti. Three sacred arias by Johann Sebastian Bach (from BWV 119) and Georg Philipp Telemann, and secular arias by Johann Hugo von Wilderer and Reinhard Keiser expand the repertoire for low female voice with recorder.
SKU: CA.1124400
ISBN 9790007164805.
Orig inal compositions for mezzo-soprano or alto, 2 to 3 recorders and basso continuo. Volume 11 of the series Flauto e voce presents sacred arias by J. S. Bach (from BWV 161) and M. Rohde. It also contains secular arias by Johann Sigismund Kusser and Henry Purcell as well as the first printed edition of the operatic scene L'usignol che si lagna by Johann Hugo von Wilderer.
SKU: BA.BA10702-01
ISBN 9790006550159. 33 x 26 cm inches. Text Language: Italian. Preface: Cummings, Graham. Pietro Metastasio.
Full instrumentation: soprano solo/3alto solo/tenor solo/baritone solo/2bass flute/flute/2oboe/2horn/t rumpet/3violin/viola/bass .
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: PR.114414480
ISBN 9781598063264. UPC: 680160597932. 9x12 inches. Key: Bb major. Transcribed by Carter Pann.
A unique collection of elegant transcriptions of Bach’s keyboard and instrumental gems scored for 10 woodwinds, with flexible scoring and ossia parts – ideal for schools and “pull-out” groups on wind ensemble concerts.The music of Johann Sebastian Bach (1685-1750) is a gift. Nearly every piece that poured out of this man is as inspired and perfected as the next. His body of work has cut a deep incision in the recorded history of music and set a benchmark to which all the contrapuntal masters who followed have aspired to meet.The transcriptions found within this volume add to the thousands upon thousands of versions of his music already re-worked for different groups and media. The music here does not, however, embellish Bach’s own scores (save but for a couple of instances in which it was felt necessary to add an inner voice to serve the expansive range of the ten woodwinds). The selections are ordered (loosely) to assume a smooth, inclined trajectory of both difficulty and musical breadth. The first piece is a small and simpleminuet, the last is a long interior movement of one of the most beloved and advanced violin concertos in the whole repertoire.As a keyboard player I grew up learning and falling in love with much of Bach’s music at the piano. For this very reason, much of this volume consists of the composer’s keyboard works. One cannot, however, deny many of the most cherished works from Bach’s oeuvre when compiling a set of transcriptions, and many of those “hits” are included here as well.Departing from a traditional harmoniemusik ensemble, I have replaced the horns here with saxophones. There are two reasons: 1) the nature of much of this music requires instruments with an ease of agility not executable so readily on the horn; and 2) the opportunity for saxophone players to be included in such an ensemble was very attractive, pedagogically.I hope you enjoy these gems from such a great genius.
SKU: HL.50603346
ISBN 9788881920600. UPC: 840126921472. 8.0x10.5x0.268 inches.
The present volume contains all three settings by Vivaldi of the Marian antiphon Salve Regina that have come down to us. All three are for solo voice: soprano in the case of RV 617, and contralto in that of RV 616 and RV 618. The last two settings are scored for two instrumental cori and introduce woodwind instruments, respectively a flute and a pair of oboes, whereas the instrumentation of the first is confined to strings disposed in a single coro, although a solo violin is employed in three movements. RV 617, preservedin a non-autograph source in Brno, belongs to Vivaldis first period of sacred music composition at the Pietà (1713-1717), while RV 616 and RV 618 are works of his maturity dating from the years around 1730. RV 617 is laid out in four movements, RV 616 and 618 in six movements. All three works are noteworthy for the tenderness of their expression and skilful writing for both the voice and the instruments. The Introduction and Critical Commentary for these vocal scores, prepared by Antonio Frigé, are closely based on those of the Critical Editions by Michael Talbot, published in 1998, 1990 and 1994.
