14 Popular Works-14 popular works for Flute with Piano accompaniment featuring selected works from the major exam board syllabuses spanning Grades 5 to 8 and beyond. Includes pull-out part and performance notes by Trevor Wye.

Par OLECHOWSKI JOZEF. Elena Durán and Józef Olechowski, one of the world's most successful partnerships, present a delightful and unique compilation of specially composed pieces for flute and piano. Listen to the enchanting and inspiring performances on the CD, then play along to the piano accompaniments. Elena and Józef play the pieces regularly in rehearsal and concerts and so will you! It's music from the heart and not to be missed!/ Répertoire / Flûte Traversière et Piano

Tilmann Dehnhard: A String of Thoughts for flute and piano UE36747 ?A String of Thoughts? by Tilmann Dehnhard is a challenging new work for students of the flute interested in mastering modern playing techniques. Tilmann Dehnhard?s ?A String of Thoughts? is a challenging new work for flute and piano. It makes use of several modern playing techniques covered in Dehnhard?s book ?The New Flute? and also those touched upon in his previous publication ?Flutebeatboxing?. Glissandi, sing-and-play, bisbigliandi and reverse sound are all included, along with some thought-provoking ideas for the pianist! Students with a good grasp of conventional technique will relish the chance to get to grips with these new ideas or perhaps use the piece for college entry audition.

Giulio Briccialdi (1818-1881) was born in Terni Italy in the Papal States and studied flute with his father until the age of 14. Following the passing of his father Briccialdi moved to Rome where he studied composition and was appointed to the Accademia di Santa Cecilia as flute teacher. He would ultimately go on to teach flute to Italian royalty including the king's brother. He also toured as a performer throughout Europe and America and finally settled in London becoming a director of the flutemaking firm Rudall and Rose. During this time he was responsible for several mechanical developments which are still in use today notably the B-flat lever. Outside ofBriccialdi's important contributions to flute instrument making this virtuoso arrangement of the popular theme would become one of his most enduring legacies. This exclusive edition of Carnival of Venice (Il Carnevale di Venezia) for flute and piano is edited arranged and performed by Sir James Galway.

Nos. 4-6-The six Flute Sonatas of J.S. Bach fall into two groups of three. In Nos. 1-3 the composer provided a concertante keyboard part where the right hand is as musically important as the flute and bass lines apart from theoccasional passage when he reverts to a figured bass. Nos. 4-6 however adopt the four-movement pattern favoured for instance by Telemann. This edition is has been edited and realised by William Bennett.The solo flutepart is also included on a separate insert.

Flutes Of The Forest is a series of seven themed compositions for intermediate students. The pieces for Flute and Piano are also atmospherically arranged with CD accompaniment as an alternative capturing the character of the trees within the music. Each composition has a complete performance with the Flute and accompaniment and then a version with accompaniment only.

A splendid collection of pieces by Romantic French composer Gabriel Faure that demonstrates his wonderful gift for imaginitive and beautiful melodies. Ten terrific arrangements by Trevor Wye for two Flutes and Piano accompaniment. There is a wide range of music here with some of Faure's best-loved pieces including Pavane Sicilienne and Cantique De Jean Racine arranged for two flutes and piano.

Italian Classics Favourite Italian melodies Com­po­si­teur: Diverse, Adap­ta­teur: Zamarin, Arnold Italian culture infects many art forms and perhaps none more so than music. In this album, Arnold Zamarin has arranged, for flute and piano, eleven well-known pieces that simply shout ?ITALY? at you! ?Italian Classics? includes the unforgettable ?O Sole Mio?, ?La Donna è Mobile?, ?Funiculi, Funicula? and Verdi?s ?Chorus of the Hebrew Slaves?. For intermediate players, ?Italian Classics? should complement your repertoire collection just as a glass of Soave accompanies Pasta alla Carbonara. And for antipasto, try Zamarin?s ?Classical Favourites from Russia? for two flutes (and maybe a glass of vodka!)

Arranged for Piano and Flute-Cesar Franck’s Sonata for Piano and Violin is one of the most treasured works in the Violin repertoire a masterpiece of cyclic form with a gracefulness and expressive force almost paradigmatic for the age of musical Romanticism. This work was composed in 1886 and was dedicated to the Belgian violinist and composer Eugène Ysaÿe.After Franck’s death in 1890 the original publisher of the Sonata the Parisian house Julien Hamelle announced an arrangement of the work for Flute in 1910. However it has not been possible to locate any copy of this publication. That the Flute version of Franck’s Sonata has found a permanent place in the chamber musicrepertoire is primarily the achievement of Jean-Pierre Rampal who frequently performed his own arrangement of the work.There were no idiomatic Violin techniques to overcome and the cantabile solo part with its broadly arched melodies seems perfectly natural on a wind instrument. The present Flute arrangement largely adopts the original Violin part unchanged merely transposing those passages that go beneath the Flute’s range. In such cases the change of register begins early enough to avoid disruptions to the melodic line and the musical context. The balance between the solo instrument and the (unaltered) Piano accompaniment remains intact.The edition is rounded off by an informative text on the genesis and reception history of the sonata (Ger/Fr/Eng).

With Plenty To Chew On-Seven concert pieces including 'Carmina Banana' and other favourites!When I began putting together a few piano pieces back in 2007 I didn't imagine they would quickly spawn a thriving eleven-volume series entitled Eye-Tunes taking players from 'easy' to grade 8 level. Nor did I imagine these might trigger a further five volumes of arrangements for flute and piano two called Creature Comforts (which predictably enough are comprised of animal-inspired pieces) or indeed the three volumes in this current series Flute Pastilles. While it goes without saying that not all pieces conceived for piano will work equally well for the combination of flute andpiano I'm a great believer that a good tune is frequently one which will transcribe easily. I like to think of these cherry-picked arrangements concise though they are as being 'proper' pieces in that they can earn their keep beyond the confines of the practice room or flute lesson. From Book 1 you will find a sprinkling of more thoughtful pieces such as Wind over Goonhilly Forget-Me-Not and Follow the North Star to offset the more jaunty pieces. These in particular call for a little extra attention to tone colour dynamics and phrase-shaping with some awareness of what the piano part is doing too. Think hard about choosing your tempo for each piece as this is a major contributor to musical character and in the faster moving music aim to articulate the rhythms as crisply as you can so that the music can really spring off the page and come to life for your audience.I must acknowledge as before the inestimable contribution to the success of these pieces made by Gillian Poznansky whose suggestions over the appearance of the scores has made such a difference to how the music is likely to be played. She also came up with a fair number of the titles to these pieces and has done them further service by performing them with me to great aplomb on innumerable occasions in far-flung corners of the globe.

For Flute and Piano-Wilhelm Popp studied with the great Louis Drouet in the 1850s and wrote many charming works for the flute this among them. Susan Milan acclaimed soloist and teacher has edited this elegant edition. Susan Milan writes: 'I discovered the charming Popp Sonatinas Op. 388 while researching 19th century flute repertoire in the British Museum Library. They were first published in Hamburg in 1888. These beautifully crafted works are all without exception a delight to play and suitable for a broad level of player. They are a lovely example of Classical style and detailed in a way that makes them a joy to perform and as they are less than 10 minutes long they are aperfect addition to a short recital programme. In editing the Sonatinas I have tidied some of the articulation making the flute part consistent. Discrepancies between markings in the flute and piano part have been corrected. I have occasionally added some slurs where I feel the lyrical nature of a section might be enhanced shown as 'dotted' slurs. Where staccati appear to be missing I have added them. I have not on the whole added expression marks. I have not changed or removed original markings.'