Aria for Flute and Organ

Jehan Alain (1911-1940) was a French organist and composer. His Aria for Organ was composed in 1938 and was superbly rearranged for Flute and Organ later that year by his brother Olivier Alain. Alain studied with Organ virtuosos Guilmant and Vierne and was primarily an organist and composer of religious music. Whilst at the Paris Conservatoire he won many prizes and his composition catalogue comprises some 140 works. Alain's Aria remains popular suitable for intermediate flautists. As a lively piece for Flute its Organ accompaniment as opposed to Piano accompaniment is unusual.Yet Alain's Aria is an exciting and varied piece for aspiring flautists.

Par KARLSSON LARS. Lars Karlsson's intensive Recitative and aria for flute and organ (1990, rev. 2021) finds peace in the end. Duration: 5' / Date parution : 2023-06-01/ Répertoire / Flûte et Orgue

The Oxford Book of Organ Music by Women Composers presents a comprehensive survey of historical organ pieces by women composers alongside six newly commissioned works. The music is stylistically varied and encompasses secular and sacred repertoire from a range of periods. In addition to original organ repertoire, the collection also contains several organ transcriptions in new arrangements for the instrument. ? 42 pieces for manuals and pedals, in a variety of musical forms, suitable for use at church services or as recital repertoire ? Original music for the instrument, spanning the sixteenth century to the present day, including compositions by Amy Beach, Clementine de Bourges, Nadia Boulanger, Jeanne Demessieux, Cecilia McDowall, Clara Schumann, and Ethyl Smyth, plus commissions from Kristina Arakelyan, Miriam Carpinetti, Ghislaine Reece-Trapp, Isabelle Ryder, Amy Summers, and Rebecca Groom te Velde ? Standalone miniatures, movements from organ sonatas and symphonies, transcriptions of piano, harpsichord, and flute pieces, and an orchestral opera overture ? A variety of difficulty levels, from ABRSM Grades 2-3 through to Diploma standard, with a graded index provided

Diane Bish has carefully selected some of her most loved organ selections and made them available in one wonderful collection. Songs include: Adagio in G minor (Thomaso Albinoni) ? Canon in D (Pachelbel) ? Overture (fromHandel's Royal Firework Music) ? Sicilienne (Theresia V. Paradis) ? and Apres Un Reve (Faure).

En Classical Favourites vous trouverez saillants de la littérature musicale du début du 17e siècle au 19e siècle. Compositeurs en ces jours ont été souvent employés par l'église ou la noblesse, avec beaucoup de leur musique écrite pour des occasions spéciales. De nombreux travaux ont maintenu leur valeur et sont encore joués dans le monde entier. Sur le CD du Classical Favourites l'accompagnement est joué sur un orgue, vous donnant l'impression de jouer dans une église ou salle de concert. Le CD comporte des pistes de démonstration, avec la partie solo, pour vous montrer clairement comment chaque pièce doit sonner. Dans le livre, vous trouverez également l'accompagnement de piano, qui peut être utilisé par des pianistes ainsi que les organistes. / Flûte Traversière / 40 pages / niveau : Elémentaire / Partition + Cd

From the youthful exuberance of Abduction from the Seraglio to the spectacular romanticism of The Magic Flute, Mozart's operas have enchanted audiences for more than 200 years. This handsome and inexpensive compilation encompasses 36 arias from such all-time favorites as The Marriage of Figaro, Così fan tutte, The Magic Flute, and Don Giovanni. Content :
IDOMENEO, RÈ DI CRETA / IDOMENEO, KING OF CRETE K366
Ilia's recitative and aria, Act I
[1] Quando avran fine omai'Padre, germani, addio!
Elettra's aria, Act I
[2] Tutte nel cor vi sento
Ilia's aria, Act II
[3] Se il padre perdei
Elettra's aria and marcia, Act II
[4] Idol mio, se ritroso altro amante'Odo da lunge armonioso suono
Ilia's aria, Act III
[5] Zeffiretti lusinghieri
Elettra's aria, Act III
[6] D'Oreste, d'Ajace
DIE ENTFÃœHRUNG AUS DEM SERAIL / THE ABDUCTION FROM THE SERAGLIO K384
Konstanze's aria, Act I
[7] ach ich liebte
Blonde's aria, Act II
[8] Durch Zärtlichkeit und Schmeicheln
Konstanze's recitative and aria, Act II
[9] Welcher Wechsel herrscht in meiner Seele'Traurigkeit
Konstanze's aria, Act II
[10] Martern aller Arten
Blonde's rondo, Act II
[11] Welche Wonne, welche Lust
LE NOZZE DI FIGARO / THE MARRIAGE OF FIGARO K492
Cherubino's aria, Act I
[12] Non sò più cosa son, cosa faccio
Countess Almaviva's aria, Act II
[13] Porgi, amor
Cherubino's arietta, Act II
[14] Voi che sapete
Susanna's aria, Act II
[15] Venite, inginocchiatevi!
Countess Almaviva's recitative and aria, Act III
[16] E Susanna non vien''Dove sono'Ah! Se almen la mia costanza
Barbarina's cavatina, Act IV
[17] L'ho perduta! Me mechina!
Susanna's recitative and aria, Act IV
[18] Giunse al fin il momento'Deh vieni, non tardar
DON GIOVANNI K527
Donna Elvira's aria, Act I
[19] Ah! Fuggi il traditor!
Donna Anna's aria, Act I
[20] Or sai chi l'onore
Zerlina's aria, Act I
[21] Batti, batti
Zerlina's aria, Act II
[22] Vedrai, carino
Donna Elvira's recitative and aria, Act II
[23] In quali eccessi Mi tradì
Donna Anna's recitative and aria (rondò), Act II
[24] Crudele''Troppo mi spiace'Non mi dir
COSÌ FAN TUTTE K588
Dorabella's recitative and aria, Act I / Scene 3
[25] Ah scostati'Smanie implacabili
Despina's aria, Act I / Scene 3
[26] In uomini, in soldati
Fiordiligi's recitative and aria, Act I / Scene 3
[27] Temerari, sortite'Come scoglio'Rispettate, anime ingrate
Despina's aria, At II / Scene 1
[28] Una donna a quindici anni'Dee in un momento
Fiordiligi's rondò, Act II / Sce
[29] Per pietà, ben mio, perdona'A chi mai mancò
Dorabella's aria, Act II / Scene 3
[30] È amore un ladroncello
DIE ZAUBERFLÖTE / THE MAGIC FLUTE K620
The Queen of the Night's recitative and aria, Act I
[31] O zitt're nicht, mein lieber Sohn!'Zum Leiden bin ich auserkoren
The Queen of the Night's aria
[32] Der Hölle Rache
Pamina's aria, Act II
[33] Ach, ich fühl's
LA CLEMENZA DI TITO K621
Vitellia's aria, Act I
[34] Deh se piacer mi vuoi'Che ceicamente crede
Servilia's aria-minuet, Act II
[35] S'altro che lagrime
Vitellia's recitative obbligato and rondò, Act II
[36] Ecco il punto, O Vitellia'Non più di fiori vaghe catene

Description Guitar And Flute Duets Compiled and arranged by Peter Draper. Forty-seven duets for intermediate players with study hints for each piece. Songlist A Happy And Harmonious Blacksmith (Air - Suite No.5 In E Hwv 430) [Handel, George Frideric] Allegro In D (Mozart) Alman [Johnson, Robert] Berceuse [Faure, Gabriel] Come Again [Dowland, John] El Majo Discreto [Granados, Enrique] Gavotte [Turk, Daniel Gottlob] Invention No.10 (Js Bach) Kemp's Jig (Downland) Largo (Xerxes) [Handel, George Frideric] Le Marc-antoine (Blavet) Le Tambourin [Rameau, Jean-philippe] Le Tambourin (Leclair) Lento (Telemann) March [Bach, Johann Sebastian] Minuet (Blavet) Minuet (Don Giovanni) [Mozart, Wolfgang Amadeus] Minuet (Eine Kleine Nachtmusik) [Mozart, Wolfgang Amadeus] Minuet (Schubert) Minuet From Orpheus (Gluck) Minuet I (Purcell) Minuet Ii (Purcell) Minuet In G Minor [Bach, Johann Sebastian] Minuetto (Paganini) Minuetto Giocoso [Haydn, Franz Joseph] Moment Musicale Op.94 No.3 [Schubert, Franz] Musette [Bach, Johann Sebastian] Pastorale (Vivaldi) Playera (Granados) Prelude In E Minor Op.28 No.4 [Chopin, Frederic] Preludio [Corelli, Arcangelo] Rage Over A Lost Penny [Beethoven, Ludwig Van] Recuerdos De La Alhambra (Tarrega) Recuerdos de la Alhambra [Tarrega, Francisco] Rondo [Bach, Carl Philipp Emanuel] Serenade [Haydn, Franz Joseph] Siciliano [Bach, Johann Sebastian] Sicilienne [Paradies, Pietro] Sonata In A No.483 (Scarlatti) Sonatine In D Minor (Beethoven) Tango [Albeniz, Isaac] The Organ Grinder From Die Winterreise Op.89 (Schubert) Theme And Variation On A Theme By Rossini (Chopin) Tre Giorni (Pergolesi) Valse (Tchaikovsky) Waltz [Brahms, Johannes] Waltz (Lyric Pieces) [Grieg, Edvard] Waltz In A Minor (Chopin) What If I Never Speede (Downland)

Easy arrangements for flute-A varied collection of tunes that everyone knows arranged by the ever-popular Chris Tambling for the Flute with Piano accompaniment.Christopher Tambling (b.1964) studied the Organ with Malcolm McKelveyat Christ's Hospital Horsham Sussex. He went on to gain Organ scholarships to Cantebury Cathedral and St Peter's College Oxford where he studied with Geoffrey Webber and David Sanger and was Organist of Pusey House. He startedhis teaching career at Sedbergh School in Cumbria where he was Organist from 1986 to 1989: he then became Director of Music at Glenalmond College near Perth in Scotland also taking on roles of Perth City Organist and Conductorof Perth City Orchestra.Tunes You Know - Flute Book One includes Amazing grace Ave Maria Can Can from 'Orpheus in Underworld' Cockles and Mussels Early OneMorning Hallelu! Hornpipe form 'Water Music' Jupiter from 'The Planets' Largo from 'New World' Symphony Marche Militaire Waly Waly Prelude form 'Te Deum' Spring from 'The Four Seasons' The Entertainer and When the Saints Go Marching In.

for Woodwind Quintet-These two extraordinary works of late Mozart KV 594 and KV 608 were both composed to fulfill a commission for a memorial exhibit in Vienna to be played in a “mechanical clock organ.” The term “fantasy” or“fantasia” came to be affixed to these works later and is more descriptive and less cumbersome than the term Mozart listed in his own catalogue “Ein Stüke für ein Orgelwerk in ein Uhr.” They are also variouslytitled “Adagio und Allegro in f für ein Orgelwerk” and “Allegro und Andante (Fantasie in f) für eine Orgelwaltze.”The first of these composed between the monumental String Quintet in D and the Piano Concertoin Bb KV 595 is an A-B-A form comprised of an f minor Adagio opening and closing with a contrapuntal Allegro at its heart. KV 608 is more complicated opening with an f minor section reminiscent of a French Overture followed by a fugue in fminor then an Andante aria followed by a return to the opening and then a more complex version of the fugue.Despite the frustration that Mozart expressed (in a letter to Constanze) with the sound world of these mechanical devices KV 594and 608 are remarkable works which stand at an intersection incorporating what he learned about counterpoint studying at the foot of Bach while looking ahead to the emotional and harmonic poignancy of Schubert.