MAGIC FLUTE, THE: Finale, Act II (Includes Papageno, Papagena Duet)

Orchestral Excerpts for Flute with Piano Accompaniment has transformed the literature and become the standard excerpt book since its release in 1995. The original collection presents excerpts as you'll see them on auditions and orchestra stands, enhanced with Baxtresser's insightful commentaries on preparing each excerpt. Prefatory essays and piano accompaniments add further resources to best prepare for auditions and life as an orchestra player. Orchestral Excerpts for Flute, Volume 2 with Piano Accompaniment provides all the same features for thorough preparation of another 56 excerpts drawn from 27 works including Tchaikowsky ballets, Strauss tone poems, John Williams film scores, and a wealth of essential repertoire from Bach through Stravinsky. DedicationA Letter to my Dear Flutist FriendsNotes for the PianistTo the PianistsWith My AppreciationWhy This New Book?Learning and Studying Excerpts TodayHow to Use This BookFlute Parts – The Music You Will UseLearning to Take a Successful AuditionPersonal PreparationThe Audition – To Win or to LearnPlaying in an OrchestraPlaying in Opera and Ballet OrchestrasAcknowledgmentsAbout Jeanne BaxtresserAbout the Collaborative EditorsBACHJOHANN SEBASTIANMass in B MinorBWV 232Part IVNo. 24Benedictusbars 1-12BARTOKBELAConcerto for OrchestraMvt. Ibars 1-35Mvt. IVbars 1-25Mvt. IVpickup to bar 136 through 151Mvt. Vbars 26-148BEETHOVENLUDWIG VANSymphony No. 7 in A MajorOp. 92Mvt. Ibars 38-88Mvt. IIbars 131-183BERLIOZHECTORSymphonie FantastiqueOp. 14Mvt. I2 bars before [2] through [3]Mvt. I4th bar of [5] through 3rd bar of [6]Mvt. III1½ bars before [37] through 5th bar of [38]GOUNODCHARLESPetite SymphonieMvt. IIbars 1-29Mvt. IIbars 60-89MAHLERGUSTAVSymphony No. 9Mvt. I2 bars before Misterioso through 3rd bar of Nicht mehr so langsamMvt. Ibeat 4 of Sehr zögernd through 3rd bar after Wieder a tempoSymphony No. 10Mvt. Vbars 27-45MOZARTWOLFGANG AMADEUSThe Magic FluteK. 620Act INo. 8Finalebars 1-24 of “Wie stark ist nicht dein Zauberton!”Act IINo. 21Finalebars 1-10PISTONWALTERThe Incredible Flutist“The Flutist,” Lento after [E] through end of soloRIMSKY-KORSAKOVNICOLAIScheherazadeMvt. II3 before [Q] through 13th of [Q]Mvt. IIIpickups to 8 before [B] to 1 before [B]Mvt. IIIpickups to [M] through [N]Mvt. IV4th bar of [T] through Più strettoSCHUMANNROBERTSymphony No. 1“Spring,” Op. 38Mvt. Ibars 14-23Mvt. Ibars 158-193Mvt. IVbars 174-206SHOSTAKOVITCHDMITRISymphony No. 5Op. 47Mvt. I[13][15]Mvt. I[39] through 3rd bar of [41]Mvt. IIpickup to 6 bars before [59]through 8th bar of [60]Symphony No. 6Op. 54Mvt. I[16] through 3rd bar of [18]Mvt. I4 bars before [23] through [26]Mvt. I3 bars before [27] through 7th bar of [27]Symphony No. 15Op. 141Mvt. Ibar 1 through 4 bars after [4]Mvt. I8th bar of [46] through [50]STRAUSSRICHARDDer RosenkavalierOp. 59Act I4 bars before [230] through [233]Act I[251][253]Don JuanOp. 20Bar 1 through [B][K] through 3rd bar of [L]Ein HeldenlebenOp. 406 bars before [14] through [14]3rd bar of [15] through 8th bar of [15]2nd bar before [41] through 11th bar of [41]Symphonia DomesticaOp. 538 bars before [22] through [24]STRAVINSKYIGORThe FirebirdPas de Deux (Firebird and Ivan Tsarevitch)1945 version1 bar before [25] through 4th bar of [33]“Appearance of the Thirteen Enchanted Princesses,” 1910 version4 bars before[52] through 2nd bar of [53]Jeu de CartesVariation IV: [75][79]Symphonies of Wind Instruments2 bars before [6] through [9]3 bars before [14] through 3rd bar of [26][28] to the 3rd bar of [37]TCHAIKOVSKYPETER ILYITCHThe NutcrackerOp. 71Act IIChinese DancecompleteDance of the Mirlitonsbar 1 to [C]Sleeping BeautyOp. 66Act IIINo.25Pas de QuatreSwan LakeOp. 20Act IIINo. 19Pas de Six [32][33]Act IIINo. 19[35][36]WILLIAMSJOHNHarry Potter and the Prisoner of AzkabanSuite for Orchestra“Hagrid’s Friendly Bird,” bars 127-151Star WarsSuite for OrchestraPrincess Leia’s themepickup to bar 15 through bar 33War HorseDartmoor1912bars 1-15Dartmoor1912pickup to bar 131 through bar 144 / Flûte traversière / Theodore Presser Company

The solo group consists of a sextet of the woodwind instruments which are normally doubled with more regular members of the orchestra: these six strangers now brought to the fore are piccolo and alto flute cor anglais Eb andbass clarinets and contrabassoon. They make a motley group diverse in colour as in register and one of the tasks of the piece sets itself is to have them blend and cohere both together as an ensemble and in partnership with thestring orchestra (which itself is used with unusual variety and subtlety). Another evident task of the work is to provide fine solos for each member of the woodwind sextet: bright dances for the piccolo recitatives for thealto flute a stoical song from the contrabassoon in the extreme bass. The work is cast as a single movement which begins in the composer's first-movement style of rapid regeneration. This is interrupted by slow interventions including one for divided strings which gives rise to a sextuple cadenza for the soloists. Out of this comes a slow movement or sequence of short slow movements followed by a dancing finale with its own slow episodes. Altogetherthis is music of songs and dances heavily tinged with Scottish rhythms and tonalities: one might think of a magic bagpipe having six chanters and a drone of variegated string texture.This work for woodwind instruments andstring orchestra was commissioned by the Strathclyde Regional Council and the Scottish Chamber Orchestra. It is the ninth of ten concerti to be written for principal players of the Scottish Chamber Orchestra. The first performancewas given in February 1995 by the Scottish Chamber Orchestra conducted by the composer.

The solo group consists of a sextet of the woodwind instruments which are normally doubled with more regular members of the orchestra: these six strangers now brought to the fore are piccolo alto flute cor anglais clarinet inEb bass clarinet in Bb and contrabassoon. They make a motley group diverse in colour as in register and one of the tasks of the piece sets itself is to have them blend and cohere both together as an ensemble and in partnershipwith the string orchestra (which itself is used with unusual variety and subtlety). Another evident task of the work is to provide fine solos for each member of the woodwind sextet: bright dances for the piccolo recitativesfor the alto flute a stoical song from the contrabassoon in the extreme bass. The work is cast as a single movement which begins in the composer's first-movement style of rapid regeneration. This is interrupted by slowinterventions including one for divided strings which gives rise to a sextuple cadenza for the soloists. Out of this comes a slow movement or sequence of short slow movements followed by a dancing finale with its own slowepisodes. Altogether this is music of songs and dances heavily tinged with Scottish rhythms and tonalities: one might think of a magic bagpipe having six chanters and a drone of variegated string texture.

Facile à jouer mélodie arrangements de ligne pour clarinette, complet avec les symboles de la corde de concert pitch. Comprend la musique de Mozart, Beethoven, Elgar, Bach et Haendel. / Clarinette / 64 pages / Partition