Instrument : flute Nombre de Pages : 72 In this volume, the teacher Robert Winn from the Cologne Academy of Music has compiled a collection of 133 tunes which shall spur on and encourage flutists to listen to and play also music composed for other instruments as well as different styles. From the repertoire for strings, piano or voice, symphonic music, chamber music, solo literature and operas, he has compiled a repertoire that shall contribute to the discovery of elements which are imperative to the development of the performer's interpretive skills and the flute sound. The ideas presented in the present edition are the result of his experience as a flutist in major international symphony orchestras and chamber music ensembles as well as a studio musician. Content : Chapter 1 / Kapitel 1: The Words. Der Text - 1. Franz Schubert An Sylvia - 2. Willibald Gluck Che farò senza Euridice (Orfeo ed Euridice) - 3. Johann Strauß (Sohn) Trinke Liebchen (Die Fledermaus) - 4. Charles Hubert Parry Jerusalem - 5. Johann Strauß (Sohn) Brüderlein und Schwesterlein (Die Fledermaus) - 6. George Gershwin Summertime (Porgy and Bess) - 7. F. Loewe / A. Lerner On the Street where you live (My Fair Lady) - 8. Georges Bizet L’amour est un oiseau (Carmen) - 9. M. Cowan / B. Paterson Waltzing Matilda - Chapter 2 / Kapitel 2: Major and Minor. Dur und Moll - 10. Traditional Russian Melody - 11. Edvard Grieg Solveigs Song op. 55/2 (Peer Gynt) - 12. Edward Elgar Pomp and Circumstance March No. 4 - 13. Felix Mendelssohn Bartholdy Violin Concerto op. 64, 1st movement - 14. Johannes Brahms Double Concerto op. 102, 2nd movement - 15. Pjotr I. Tschaikowsky Swan Lake Ballet op. 20 - 16. Adolphe Adam Giselle - 17. Felix Mendelssohn Bartholdy Song without Words op. 30/3 - 18. Anonymus Londonderry Air - 19. Pjotr I. Tschaikowsky Barcarole op. 37/6 (The Seasons) - 20. AntonÃn Dvorák Symphony from the New World op. 95, 2nd movement - 21. Modest Mussorgsky Bydlo (Pictures at an Exhibition) - 22. Giuseppe Verdi Slaves Chorus (Nabucco) - 23. Robert Schumann Symphony No. 4 op. 120, 2nd movement . - 24. Traditional Greensleeves - 25. Giuseppe Verdi Lacrimosa (Requiem) - 26. Felix Mendelssohn Bartholdy Song without Words op. 109 - 27. Giuseppe Verdi Paragi, o cara (La Traviata) - 28. César Franck Symphony, 2nd movement - 29. Richard Strauss Horn Concerto No. 1 op. 11, 1st movement - 30. Wolfgang Amadeus Mozart Piano Concerto KV 491, 1st movement - 31. Johann Joachim Quantz Trio Sonata in G minor - 32. Gaetano Donizetti Verranno a te sull’aure (Lucia di Lammermoor) - 33. Léo Delibes Coppélia - 34. Nino Rota Speak softly Love (The Godfather) - Chapter 3 / Kapitel 3: Melody and harmony. Melodie und Harmonie - 35. Gabriel Fauré Chanson d'amour - 36. Felix Mendelssohn Bartholdy Symphony No. 4 / Italian Symphony op. 90, 3rd movement - 37. Nikolai Rimski-Korsakow Scheherazade - 38. AntonÃn Dvoqák Cello Concerto op. 104, 1st movement - 39. Felix Mendelssohn Bartholdy Hebrides Overture - 40. Giacomo Puccini Madame Butterfly - 41. Carl Maria von Weber Leise, leise, fromme Weise (Der Freischütz) - 42. Georges Bizet Carmen - 43. Fritz Kreisler Liebesleid - 44. Wolfgang Amadeus Mozart Clarinet Concerto KV 622, 2nd movement - 45. Johannes Brahms String Quartet op. 67, 2nd movement - 46. Georges Bizet La fleur que tu m’avais jetée (Carmen) - 47. Robert Schumann Piano Quintet op. 44, 1st movement - 48. Franz Schubert Arpeggione Sonata D 821, 1st movement - 49. David Gates If - 50. Johann Strauß (Sohn) Overture (Die Fledermaus) - 51. Camille Saint-Saëns The Swan (Carnival of the Animals) - 52. W. A. Mozart (Arr. R. Winn) Concerto for Flute and Harp KV 299, 2nd movement - 53. Max Bruch Violin Concerto op. 26, 2nd movement - 54. Johann Sebastian Bach Air (Suite for Orchestra No. 3 in D major BWV 1068) - 55. César Franck Sonata for Violin and Piano, 1st movement - 56. Johann Sebastian Bach Concerto in F minor for Harpsichord and Strings BWV 1056, 2nd movement - 57. Ludwig van Beethoven Romance in F major op. 50 - 58. Franz Schubert Arpeggione Sonata D 821, 2nd movement - 59. Robert Schumann Träumerei (Kinderszenen) - 60. Igor Strawinsky Firebird Suite - 61. Gaetano Donizetti Verranno a te sull’aure (Lucia di Lammermoor) - 62. Ruggero Leoncavallo Vesti la Giubba (Pagliacci) - 63. Claude Debussy La fille aux cheveux de lin - 64. Carl Reinecke Sonata op. 167, 2nd movement (Undine) - 65. Robert Schumann Romanze op. 94/2 - 66. Maurice Ravel Pavane pour une infante défunte - Chapter 4 / Kapitel 4: Top register. Das obere Register - 67. Johannes Brahms Hungarian Dance No. 1 - 68. Pjotr I. Tschaikowsky Waltz of Flowers (Nutcracker Suite) - 69. Giuseppe Verdi Amami, Alfredo (La Traviata) - 70. Harold Arlen Somewhere over the Rainbow - 71. Wolfgang Amadeus Mozart Dieses Bildnis ist bezaubernd schön (The Magic Flute) - 72. Hector Berlioz Overture (Le Carnaval Romain) - 73. J. S. Bach / Ch. Gounod Ave Maria (after Bach’s Prelude No. 1, Welltempered Clavier 1) - 74. Pietro Mascagni Intermezzo (Cavalleria Rusticana) - 75. Niccolo Paganini Cantabile - 76. Georges Bizet La foule prosternée (Pearl Fishers) - 77. Gaetano Donizetti Verranno a te sull’aure (Lucia di Lammermoor) - 78. Pjotr I. Tschaikowsky Symphony No. 6 / Pathetic Symphony op. 74, 1st movement - 79. Gaetano Donizetti Il dolce suono (Lucia di Lammermoor) - 80. Giacomo Puccini O mio babbino (Gianni Schicchi) - 81. Johannes Brahms Sonata for Violin and Piano in G major op. 78, 1st movement - 82. Charles Gounod Petite symphony, 2nd movement - 83. Modest Mussorgsky Night on a bare Mountain - 84. Igor Stravinsky Rite of Spring - 85. Johannes Brahms Symphony No. 3 op. 90, 2nd movement - 86. Johannes Brahms Symphony No. 3 op. 90, 3rd movement - 87. Igor Stravinsky Firebird Suite - 88. Edvard Grieg Piano Concerto op. 16, 3rd movement - Chapter 5 / Kapitel 5: Imagination and Realization. Idee und Realisation - 89. Edward Elgar Salut d'amour - 90. Wolfgang Amadeus Mozart Flute Quartet KV 285, 2nd movement - 91. Richard Strauss Don Juan op. 20 - 92. Hector Berlioz Symphonie Fantastique, 1st movement - 93. Frédéric Chopin Nocturne op. 9/2 - 94. Sergej Rachmaninow Piano Concerto No. 2 op. 18, 1st movement - 95. Pjotr I. Tschaikowsky Symphony No. 6 / Pathetic Symphony op. 74 - 96. Giuseppe Verdi Overture (Giovanna d'Arco) - 97. Maurice Ravel Piano Concerto, 2nd movement - 98. Giacomo Puccini E lucevan le stelle (Tosca) - 99. Johannes Brahms Piano Concerto No. 2 op. 83, 3rd movement - 100. Edvard Grieg Ã…ses Tod op. 41/1 (Peer Gynt) - 101. César Franck Sonata for Violin and Piano, 2nd movement - 102. Frédéric Chopin Waltz op. 69/1 - 103. Aram Khatchaturian Spartacus Ballet. - 104. Aram Khatchaturian Violin Concerto, 2nd movement - 105. Johannes Brahms Intermezzo - 106. Sergej Rachmaninow Piano Concerto No. 2, 2nd movement - 107. Sergej Rachmaninow Piano Concerto No. 2, 3rd movement - 108. Jules Massenet Méditation (Thaïs) - 109. JoaquÃn Rodrigo Concierto de Aranjuez, 2nd movement - 110. Johannes Brahms Violin Concerto op. 77, 2nd movement - 111. Pjotr I. Tschaikowsky Symphony No. 4 op. 36, 2nd movement - 112. Giuseppe Verdi Overture (Il Forza del Destino) - 113. Felix Mendelssohn Bartholdy Violin Concerto op. 64, 2nd movement - 114. César Franck Sonata for Violin and Piano, 1st movement - 115. Giacomo Puccini Nessun dorma (Turandot) - 116. Richard Strauss Im Abendrot (Four last Songs) - 117. Pjotr I. Tschaikowsky Rococo Variations op. 33 - 118. Sergej Rachmaninow Symphony No. 2 op. 27, 1st movement - 119. Pjotr I. Tschaikowsky Violin Concerto op. 35, 2nd movement - 120. Anton Bruckner Symphony No. 7, 1st movement - 121. Claude Debussy (Arr. R. Winn) Rêverie - 122. Claude Debussy Prélude à l’après-midi d’un faune - 123. Jean Sibelius Violin Concerto op. 47, 1st movement - 124. Sergej Rachmaninow Symphony No. 2 op. 27, 3rd movement - 125. Sergej Rachmaninow Vocalise op. 34/14 - 126. Alexander Borodin String Quartet No. 2, 3rd movement. - 127. JoaquÃn Rodrigo Concierto de Aranjuez, 2nd movement - 128. Sergej Rachmaninow Symphony No. 2 op. 27, 3rd movement - 129. Aram Khatchaturian Spartacus Ballet. - 130. Pjotr I. Tschaikowsky Overture (Romeo et Juliette) - 131. Nikolai Rimski-Korsakow Scheherazade - 132. Pjotr I. Tschaikowsky Overture (Romeo et Juliette) - 133. Maurice Ravel Daphnis et Chloé (Suite No. 2)
SKU: HL.49019165
ISBN 9790001158503. UPC: 841886013742. 9.0x12.0x0.233 inches. English - German.
Robert Winn's exercises for the development of articulation and tonguing shall show all flutists an interesting way to get to know and add to the character and spectrum of musical expression. This edition is centred on the technique of tonguing and a deeper knowledge of articulation with regard to conscious and unconscious movements of the tongue and diaphragm. The exercises compiled from the classical concert literature shall help to improve the player's musical imagination and help him to learn to listen closely. The coordination of the tongue and fingers as well as of sound and technique is improved, as is double and triple tonguing and other advanced articulation techniques.
SKU: CF.WF230
ISBN 9781491153741. UPC: 680160911240.
Ever since he was honored 50 years ago as a top prize-winning graduate of New England Conservatory and a Fulbright scholar at the Paris Conservatoire, flutist Robert Stallman has drawn accolades around the world as a performer and recording artist who “dazzles because of his penetrating artistry†(Sunday Times/London). Also known internationally for superior flute editions, including numerous transcriptions that have greatly expanded the repertoire, Stallman now offers flutists an appealing collection of original melodic warm-ups. With The Flutist’s Handbook, he shares his fresh approach to staying in shape and maintaining his reputation for “consummate virtuosity†(Repertoire/France).PrefaceOne morning many years ago I opened my flute case and suddenly found myself questioning the wisdom of having scales and long tones come first in my practice session. Of course, these are essential to daily practice, but I wondered if there might be a better way to begin the day—with something more melodic and engaging, something to really inspire me.The Flutist’s Handbook emerged from a stream of musical ideas I began to jot down during practice sessions after that “aha†moment. As I worked with them, I noticed a more spontaneous interest in practicing. In fact I even looked forward to starting my day this way. As a result, my work on scales, arpeggios and long tones followed with more enjoyment and focused attention.In creating many of the détaché warm-ups found in Part I, I was drawn to the musical sequences of J. S. Bach, particularly those developed in his keyboard works. Bach had discovered the most satisfying musical patterns on which to build his music, so here was a treasure trove of invigorating melodic material. I also borrowed apt détaché passages from C.P.E. Bach, Schubert, Dvořák and others.Part II includes more musical quodlibets and echos in a collection of fifteen short melodies designed to open and center the tone, while encouraging full breath support. These melodies also concentrate on developing our sostenuto, or true legato playing—the foundation of a beautiful sonority and natural vocal expression. Except for final cadence notes, these warm-ups should be practiced without vibrato, to create an even and seamless instrument, bottom to top.All of these warm-ups are to be played forte and piano in every major key, proceeding chromatically by rising half-steps. Tempo indications are given in the headings, as are optional rhythmic and articulation variants. Suggested breath marks are in parentheses.The Handbook opens with détaché warm-ups for a good reason. It is vital to begin our practice with tonguing, as a clean attack is essential to producing a beautiful tone. Also, in working on tonguing (single, double, triple and tremolando) we stimulate and strengthen the jaw muscles that support the embouchure (which must remain supple and flexible). As we fine-tune these muscles, we gain tonal center and clarity, qualities that may elude us at the beginning of our practice. Of course, we also need to wake up the air stream and deepen our breath support. Once the tongue is alive and the tone is centered, we are ready to work further on our sonority with the melodic warm-ups in Part II.This book is meant for professionals, students and amateur flutists alike. I offer it to all as a companion that invites more pleasure and vitality into our daily practice. It is my firm belief that by aligning ourselves with our love of music and its energizing patterns each day—from the very first moment we pick up the instrument—we will bring more ease and focus into our lifelong task of staying in shape. This in turn will support the heightened inspiration we want to take into rehearsals and performances. Enjoy!—Robert StallmanMarblehead, MassachusettsApril 20, 2018.