Concerto in D Major for Flute Strings and Basso Continuo Il Gardellino Op.10 No.3, RV428

Concerto For Flute And Orchestra D major K. 314 (285d).Flute Solo Oboe (2) Horn (2) Strings.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take all availablesources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.

Concerto For Flute And Orchestra D major K. 314 (285d).Flute Solo Oboe (2) Horn (2) Strings.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take all availablesources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.

Concerto For Flute And Orchestra D major K. 314 (285d).Flute Solo Oboe (2) Horn (2) Strings.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take all availablesources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.

Piano Reduction including solo part. Par DENISOV EDISON. The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996. In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from the composer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development, recapitulation and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with sonic effects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova)/ Répertoire / Saxophone Alto et Piano

Music Minus One Flute-From the Italian master of Baroque music comes this collection of three magnificent flute concerti. The F-major concerto taken from Vivaldi's Opus 10 collection is particularly notable as in it Vivaldi slightly reworked his legendary RV442 treble recorder concerto using an accompaniment of muted strings throughout. All three of these are perfect for any flutist with a flair for the Baroque. Includes a high-quality printed music score and a compact disc containing a complete performance in split-channel stereo with the soloist on the right channel and a second performance in full stereo minus the soloist. Performed by Vaclave Sykora flute Accompaniment: Czech SymphonyChamber Orchestra Conductor: Mario Klemens

Violine 1-Concerto for Flute Violin Violoncello Strings and Basso Continuo in A major (TWV 53:A2)Tafelmusik IIf Telemann was regarded by his contemporaries as one of the greatest of all composers his star faced with the overwhelming presence of Bach and Handel paled in the course of the 19th century to the verge of contempt. This assessment changed radically during the course of the last century. Through the systematic exploration of his music Telemann once considered purely an instrumental composer has emerged into a highly cultivated culturally well-connected and enormously versatile artistic personality who left an indelible mark on the musical life of his time.Again and again we discover an individual approach in his works that seems to abandon the musical conventions of his day both large and small.The Tafelmusik (Musique de Table) is a collection of chamber pieces for various ensembles arranged into 3 parts and is perhaps Telemann's most celebrated collection of music. Composed in 1733 the Tafelmusik clearly demonstrates Telemann's skill in handling a diversity of musical genres and a variety of instruments.- Urtext of the Telemann Edition

Viola-Concerto for Flute Violin Violoncello Strings and Basso Continuo in A major (TWV 53:A2)Tafelmusik IIf Telemann was regarded by his contemporaries as one of the greatest of all composers his star faced with the overwhelming presence of Bach and Handel paled in the course of the 19th century to the verge of contempt. This assessment changed radically during the course of the last century. Through the systematic exploration of his music Telemann once considered purely an instrumental composer has emerged into a highly cultivated culturally well-connected and enormously versatile artistic personality who left an indelible mark on the musical life of his time.Again and again we discover an individual approach in his works that seems to abandon the musical conventions of his day both large and small.The Tafelmusik (Musique de Table) is a collection of chamber pieces for various ensembles arranged into 3 parts and is perhaps Telemann's most celebrated collection of music. Composed in 1733 the Tafelmusik clearly demonstrates Telemann's skill in handling a diversity of musical genres and a variety of instruments.- Urtext of the Telemann Edition

Flöte Solo-Concerto for Flute Violin Violoncello Strings and Basso Continuo in A major (TWV 53:A2)Tafelmusik IIf Telemann was regarded by his contemporaries as one of the greatest of all composers his star faced with the overwhelming presence of Bach and Handel paled in the course of the 19th century to the verge of contempt. This assessment changed radically during the course of the last century. Through the systematic exploration of his music Telemann once considered purely an instrumental composer has emerged into a highly cultivated culturally well-connected and enormously versatile artistic personality who left an indelible mark on the musical life of his time.Again and again we discover an individual approach in his works that seems to abandon the musical conventions of his day both large and small.The Tafelmusik (Musique de Table) is a collection of chamber pieces for various ensembles arranged into 3 parts and is perhaps Telemann's most celebrated collection of music. Composed in 1733 the Tafelmusik clearly demonstrates Telemann's skill in handling a diversity of musical genres and a variety of instruments.- Urtext of the Telemann Edition

In a letter dating from 1777 Mozart reported to his father from Mannheim that Johann Baptist Wendling principal Flautist of the famous Mannheim Orchestra had been approached by a wealthy Dutch businessman by the name of De Jean who was prepared to pay 200 gulden for three easy flute concertos and four flute quartets for his own use. Mozart accepted the commission. By the day before the Dutchman left Mozart had delivered only three of the quartets andtwo concertos for which he had been paid 964 gulden. The composer who was himself being pressed by his father to continue his own journey to Paris with his mother was full of excuses writing back to Salzburg on 14 February 'It is not surprising I have been unable to finish them for I never have a single hour's quiet here...Moreover you know I become quite powerless when I am obliged to write for an instrument I can't stand.' There is more than a hint of disingenuousness in Mozart's words for this was the height of the period during which he was being distracted from his work by his new-found love for the Mannheim singer Aloysia Weber. (He ultimatelymarried her sister Constanze.) If Mozart's dislike of the Flute was as great as he claimed there are few signs in the Flute Concerto No.1 in G major particularly in the expressive central Adagio ma non troppo. The outermovements are an Allegro maestoso and a concluding Rondo: Tempo di Menuetto. The work is scored for two oboes (replaced by flutes in the Adagio) two horns and strings. This Great Performers' Edition is edited byJames Galway.

Mozart's Concerto in G major For Flute K.313 composed in 1778 in an authoritative Urtext edition based on the New Mozart Edition. Scored for Flute Solo Flute (2) Oboe (2) Horn (2) Strings. Mozart exhibited a special affinity with the woodwind family writing prolifically for the instruments throughout his lifetime. This Urtext edition is based upon original manuscripts and features a short editorial and scholarly history of the piece making it the ideal choice for both academic study and informed concert performance. The New Mozart Edition offers researchers a musicologically unimpeachable text based on all theavailable sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.   Full score Flute & Piano reduction (BA4854-90) and performance material (BA4854) available for sale.

Cello. Par TELEMANN GEORG PHILIPP. Concerto for Flute, Violin, Violoncello, Strings and Basso Continuo in A major (TWV 53:A2) Tafelmusik I If Telemann was regarded by his contemporaries as one of the greatest of all composers, his star, faced with the overwhelming presence of Bach and Handel, paled in the course of the 19th century to the verge of contempt. This assessment changed radically during the course of the last century. Through the systematic exploration of his music, Telemann, once considered purely an instrumental composer, has emerged into a highly cultivated, culturally well-connected and enormously versatile artistic personality who left an indelible mark on the musical life of his time. Again and again we discover an individual approach in his works that seems to abandon the musical conventions of his day, both large and small. The Tafelmusik (Musique de Table) is a collection of chamber pieces for various ensembles arranged into 3 parts and is perhaps Telemann's most celebrated collection of music. Composed in 1733, the Tafelmusik clearly demonstrates Telemann's skill in handling a diversity of musical genres and a variety of instruments. - Urtext of the Telemann Edition/ Répertoire / Flûte Traversière, Violon, Instruments à Cordes et