Suite For Flûte And Strings Op. 35

Bach’s Suite No.2 In B Minor BWV 1067 is one of the four surviving orchestral suites or Ouvertures - that is dance suites in the French style – as he would have named them. The second suite for Flute Strings and Basso Continuo is a beautiful work comprising 8 short movements and is arranged here for Flute with Piano Accompaniment by Erich List and Johannes Weyrauch. This Urtext edition provides you with an accurate realisation of the composer’s original intentions (for the Flute part that is) and thoroughly detailed editorial markings and suggestions.

50 Duets Can Be Played by Any Comb of String Instr-The intention of Compatible Christmas Duets For Strings is to provide instrument players the opportunity to play fifty popular Christmas carols in arrangements for two instruments.These duets will work with any combination of any two instruments so you can play carols with your friends no matter what instrument they play. There are endless possibilities for using duet combinations for fun and entertainment around the holidays. You can play for family friends or in a concert setting.Compatible Christmas Duets For Strings provides you with interesting and playable arrangements. It can also help to make practice time fun aroundthe holidays and can be used with friends and teachers as well. One of the best ways to improve as a player is to play in small chamber groups and duets are the easiest way to get started. Playing duets with others of similar ability levels or even of greater ability will help to stimulate the growth of your playing.

Britten's Two Portraits for strings - the composer himself called them 'Sketches' - were composed in August and September 1930 during the summer holidays preceding the sixteen-year-old composer's first term at the RoyalCollege of Music in London.Both are musical depictions of character the first portraying Britten's school friend David Layton and the second introducing a solo Viola (Britten's own string instrument) a self-portraitof the composer. According to Britten's diary he planned to compose a third portrait again for strings that was to depict another school friend Peter Floyd but this movement was not written. However David Layton was to beportrayed again though very differently in Britten's later quartet suite Alla Quartetto Serioso (1933) itself revised and re-titled in 1936 as Three Divertimenti.The Pencil manuscript score in theBritten-Pears Library at Aldeburgh although hastily written is very detailed ad dynamics and phrasing are carefully notated throughout. However in several places in the first 'Portrait' the notes themselves are either difficultto decipher or due to the highly chromatic nature of the music difficult to interpret - in some cases Britten has clearly made notational 'spelling' mistakes which have been silently corrected in this editon. A list ofthose places where the reading of the manuscript is doubtful may be obtained from the Britten-Pears Library Aldeburgh.As with virtually all orchestral music from his youth Britten did not hear either 'Portrait'performed. The first performance of Two Portraits was given by the Northern Sinfonia conducted by Martyn Brabbins broadcast by BBC Radio 3 on 5th December 1995 as part of a series entitled 'Britten's Apprenticeship'.The first concert performance of Portrait No.1 was given by the Britten Chamber Orchestra conducted by Andreas Mitisek at the Konzerthaus Schubert-Saal Vienna on 10th February 1996. The first concert performance of

The story centres on the English princess Caroline Mathilde (1751-1775) sister of George III who at the age of 15 was sent to Denmark to marry the 17-year-old eccentric and schizophrenic Danish King Christian VII. The balletportrays her unhappy marriage the King's growing madness and her fatal love-affair with Struensee the King's influential physician which leads to their arrest his execution and her exile at the age of 20 separated from hertwo young children.This suite begins with the act's opening number: a boisterous stamping dance to which the people rudely mock Queen Caroline Mathilde and her lover Struensee. After this comes a dark Adagio The Conspiracy in which the theme passes like persuasion from mouth to mouth its variations suggesting the different attitudes of the conspirators firmly controlled by the brass-driven gestures of the Queen Dowager. The conspiracy then worksitself out at a court masked ball from which the suite includes two dances: a gavotte and a slow lubricious passacaglia that is a pas de deux for Caroline Mathilde and Struensee. The Arrest comes with a gathering rush of musicthat envelops the King the Queen and Struensee leading to a vociferous climax in which they are held apart. In The Execution slow white music for wordless female voices harp and low strings is interrupted by pathetic alienated outbursts from the King. The suite ends as does the ballet with a quiet adagio lament for clarinets and alto flute as the Queen goes into exile.Score. Duration c. 33mins.

Reduction for flute and piano. This suite was commissioned by Cookham Festival Society first performed in 1979. Originally scored for solo flute harpsichord and strings. Duration 16 minutes.

for Flute Strings and Basso continuo B Minor / Si mineur/ h-Moll-Toute la Suite en un seul recueil dont l´extraordinaire mouvement Badinerie !

From early in the 17th century until the form engaged the interest of Johann Sebastian Bach various notable German composers - including Rosenmüller Fischer Fasch and Telemann - had contributed to the development of the orchestral suite or 'Ouverture' which name betrays its French theatrical origins. From Bach himself only four such suites have come down to us due to the diligence of C.F.Penzel who was a student at the Thomasschule from 1751 and who made copies of Bach's MSS he found there. Thus neither the dates nor the order of composition of the suites can be established with any certainty. As to the present suite in B minor recent criticism suggests that Bach'sidiomatic flute writing in this popular suite would even in 1737 or later have been considered fashionably up-to-date even in Paris. It has also been suggested that the suite could have been written expressly for Pierre-Gabriel Buffardin principal flautist of the Dresden Court Orchestra.