Complete Works For Lute. Vol.2: Suite Bwv 996. Baroque Lute Version (BACH JOHANN SEBASTIAN)

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

Although Robert Schumann absolutely loved to play a duet he wrote only few works for Piano duet. Created in 1848 Bilder aus dem Osten Op. 66 was one of the best-known and most frequently played works in the Piano duet literature until the 20th century. But the Polonaises Op. 3 by the 18-year-old composer following the example of Franz Schubert and even exceeding him in harmonic boldness and tonal ingenuity already show the self-taught Schumann on the way to his own style. After volume 1 which contains the easier works composed for music teaching purposes volume 2 now contains the charming yet hardly known Ballszenen Op. 109 inaddition to the two above-mentioned works. The new edition of the Wiener Urtext Edition based on the musical text of the New Schumann Complete Edition (edited by Joachim Draheim and Bernhard Appel) provides for the first time a reliable original text based on the sources especially for the 8 Polonaises which had been inadequately edited up to now. The appendix contains the popular Fantasiestücke Op. 73 (originally for Clarinet and Piano) edited by the composer and future Schumann researcher Friedrich Gustav Jansen. The arrangement published in 1851 had been revised and thus been authorized by Schumann himself.

Although Robert Schumann absolutely loved to play a duet he wrote only few works for Piano duet. Created in 1848 Bilder aus dem Osten Op. 66 was one of the best-known and most frequently played works in the Piano duet literature until the 20th century. But the Polonaises Op. 3 by the 18-year-old composer following the example of Franz Schubert and even exceeding him in harmonic boldness and tonal ingenuity already show the self-taught Schumann on the way to his own style. After volume 1 which contains the easier works composed for music teaching purposes volume 2 now contains the charming yet hardly known Ballszenen Op. 109 inaddition to the two above-mentioned works. The new edition of the Wiener Urtext Edition based on the musical text of the New Schumann Complete Edition (edited by Joachim Draheim and Bernhard Appel) provides for the first time a reliable original text based on the sources especially for the 8 Polonaises which had been inadequately edited up to now. The appendix contains the popular Fantasiestücke Op. 73 (originally for Clarinet and Piano) edited by the composer and future Schumann researcher Friedrich Gustav Jansen. The arrangement published in 1851 had been revised and thus been authorized by Schumann himself.

Methode Elementaire en deux volumes-Second volume of the method The Imaginative Flute by Éric Ledueil will help the beginner flautist to produce the sound to play notes and then melodies with rhythms. Exercises with commentary throughout the book will help players to get the right positioning to obtain the right sound. Some workshops to develop creativity and get more familiar with composition are also part of this method. The Imaginative Flute is a really complete method that will help all beginners to get through the first learning stages with the method also containing a CD that will allow beginners to play with a Piano accompaniment onsome melodies.

Tonalité : D-Dur - Fk 15C (Br Wfb C 15). Par BACH WILHELM FRIEDEMANN. With the first appearance of this three-movement concerto for flute, 2 violins, viola and basso continuo, Wilhelm Friedemann Bach’s only surviving flute concerto is made accessible to a wider musical audience. The transparent delicacy of the composition is visible in the orchestral movement. Almost continuously written in 3 parts the concerto clearly bears the individual artistic traits of the eldest of Bach’s sons. The critical edition is based on the only known source, from the library of the ‘Berliner Singakademie’, will be contained in volume IV/2 of the complete edition of Wilhelm Friedemann Bach’s works./ Répertoire / Flûte Traversière, 2 Violons, Alto, Violoncelle ou

Tonalité : D-Dur - Fk 15C (Br Wfb C 15). Par BACH WILHELM FRIEDEMANN. With the first appearance of this three-movement concerto for flute, 2 violins, viola and basso continuo, Wilhelm Friedemann Bach’s only surviving flute concerto is made accessible to a wider musical audience. The transparent delicacy of the composition is visible in the orchestral movement. Almost continuously written in 3 parts the concerto clearly bears the individual artistic traits of the eldest of Bach’s sons. The critical edition is based on the only known source, from the library of the ‘Berliner Singakademie’, will be contained in volume IV/2 of the complete edition of Wilhelm Friedemann Bach’s works./ Répertoire / Flûte Traversière, 2 Violons, Alto, Violoncelle ou

Tonalité : D-Dur - Fk 15C (Br Wfb C 15). Par BACH WILHELM FRIEDEMANN. With the first appearance of this three-movement concerto for flute, 2 violins, viola and basso continuo, Wilhelm Friedemann Bach’s only surviving flute concerto is made accessible to a wider musical audience. The transparent delicacy of the composition is visible in the orchestral movement. Almost continuously written in 3 parts the concerto clearly bears the individual artistic traits of the eldest of Bach’s sons. The critical edition is based on the only known source, from the library of the ‘Berliner Singakademie’, will be contained in volume IV/2 of the complete edition of Wilhelm Friedemann Bach’s works./ Répertoire / Flûte Traversière, 2 Violons, Alto, Violoncelle ou

Tonalité : D-Dur - Fk 15C (Br Wfb C 15). Par BACH WILHELM FRIEDEMANN. With the first appearance of this three-movement concerto for flute, 2 violins, viola and basso continuo, Wilhelm Friedemann Bach’s only surviving flute concerto is made accessible to a wider musical audience. The transparent delicacy of the composition is visible in the orchestral movement. Almost continuously written in 3 parts the concerto clearly bears the individual artistic traits of the eldest of Bach’s sons. The critical edition is based on the only known source, from the library of the ‘Berliner Singakademie’, will be contained in volume IV/2 of the complete edition of Wilhelm Friedemann Bach’s works./ Répertoire / Flûte Traversière, 2 Violons, Alto, Violoncelle ou

Arias with 1 or 2 flutes obbligato (with the complete vocal part)-Arias with 1 or 2 Flutes obbligato (with the complete vocal part).Selected movements from secular cantatas from St Matthew Passion Mass in B minor and the Lutheran Mass in A major. This volume presents for the first time all those arias from the oratorios Passions Masses and sacred and secular cantatas of Johann Sebastian Bach that contain obbligato parts for one or two Flutes. The musical text has been adopted from the “ Urtext ” of the New Bach Edition. Music and words are inseparable in Bach’s works. Therefore as an aid to the interpretation of these Flute solos our richly annotated collection offers notonly Flute part but also the complete vocal part for each movement. In this way the edition not only represents a novel form of Orchestral studies it also opens up an important area of the Flute repertoire. Contents:Kantate 45. Es ist dir gesagt Mensch was gut ist. Nr. 5 Alt-Arie: Wer Gott bekenntKantate 55. Ich armer Mensch ich Sündenknecht. Nr. 3 Tenor-Arie: Erbarme dichKantate 79. Gott der Herr ist Sonn und Schild. Nr. 2 Alt-Arie: Gott ist unsre Sonn und SchildKantate 180. Schmücke dich o liebe Seel. Nr. 2 Tenor-Arie: Ermuntre dich dein Heiland kommtKantate 94. Was frag ich nach der Welt. Nr. 4 Alt-Arie: Betörte Welt betörte WeltKantate 110. Unser Mund sei voll Lachens. Nr. 2 Tenor-Arie: Ihr Gedanken und ihr Sinnen (2 Flöten)Kantate 78. Jesu der du meine Seel. Nr. 4 Tenor-Arie: Das Blut so meine Schuld durchstreichtKantate 100. Was Gott tut das ist wohlgetan. Nr. 3 Sopran-Arie (Vers): Was Gott tut das ist wohlgetanKantate 96. Herr Christ der einge Gottessohn. Nr. 3 Tenor-Arie: Ach ziehe die Seele mit Seilen der LiebeKantate 102. Herr deine Augen sehen nach dem Glauben. Nr. 5 Tenor-Arie: Erschrecke doch du allzu sichre SeeleKantate 113. Herr Jesu Christ du höchstes Gut. Nr. 5 Tenor-Arie: Jesus nimmt die Sünder anKantate 99. Was Gott tut das ist wohlgetan. Nr. 3 Tenor-Arie: Erschüttre dich nur nicht verzagte SeeleKantate 114. Ach lieben Christen seid getrost. Nr. 2 Tenor-Arie: Wo wird in diesem JammertaleKantate 130. Herr Gott