{"title":"Flute","description":"","products":[{"product_id":"danza-di-tre-bambole","title":"Danze di tre bambole","description":"\u003cp\u003e\"Dance of three dolls\"\u003c\/p\u003e","brand":"H. Leslie Adams","offers":[{"title":"Physical","offer_id":45438392205532,"sku":"ACA-ADHL-067","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45438392238300,"sku":"ACA-ADHL-067e","price":15.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-ADHL-067e_Page_1.jpg?v=1721424845"},{"product_id":"lamour-eternel","title":"L'Amour eternel","description":"\u003cp\u003eL'Amour Eternel, H. Leslie Adams' substantial entry into the flute repertoire, takes the form of a sonata in three movements: I. Allegretto fluente, II. Andantino e poco agitato, and III. Moderato e molto expressivo. In many ways it might be considered the heir of the late Romantic flute sonata, with a thickness of harmonic language and melodic flow that suggests Gabriel Faure or Philipp Gaubert. And, like Gaubert, the flute line is written with an ear to exquisite dynamic shaping and myriad tone colors.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFrom the composer:\u003c\/em\u003e The first movement is quite flowing with great ease. The second is lightly syncopated, somewhat humorous and a bit \"jazzy.\" The third is quite romantic and amorous, combining qualities of both \"flesh and spirit\" and ending on a quiet note.\u003c\/p\u003e","brand":"H. 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Like many of the standard yet small repertoire works for flute and harp - LutosÅ‚awski's 3 Fragments, Ibert's Entr'acte, Jongen's Danse Lente - the harpist takes a leading role, with the flutist variously adding color, emphasizing melodic lines and counterpoint, or outlining sparkling filigree about the harp's steady lines.\n\u003cbr\u003eNotably, Adams also enhances the textural possibilities of the ensemble with several well-applied Salzedo techniques in the harp. The flute, in contrast, uses extended technique sparingly - a few notes of flutter-tongue for color, and neo-Romantic tone painting otherwise.\u003c\/p\u003e\n\n\u003cp\u003eNew 2020 engraved edition from 1983 original.\u003c\/p\u003e","brand":"H. 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The first movement begins Andante Sostenuto and allows the flutist to sing through the arch-shape melodic sections, ending with quietly reflective harmonics in the flute. The second movement, in true Conservatoire concours fashion, sees the flutist dance through quick ideas that occasionally break into technical fireworks.\u003c\/p\u003e","brand":"Ruth Anderson","offers":[{"title":"Physical","offer_id":45445806948572,"sku":"ACA-ANDR-001","price":25.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45445806981340,"sku":"ACA-ANDR-001e","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-ANDR-001e_Page_1.jpg?v=1721831226"},{"product_id":"sonatine","title":"Sonatine","description":"\u003cp\u003eRuth Anderson's small Sonatine, for flute and piano, is a charming beginning work that introduces the student to several of the musical tendencies of the 20th Century while remaining firmly grounded in near-traditional tonality and melodic material. In three movements: I. Dance, II. Petite Waltz, and III. Rondino.\u003c\/p\u003e","brand":"Ruth Anderson","offers":[{"title":"Physical","offer_id":45445807046876,"sku":"ACA-ANDR-002","price":17.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45445807079644,"sku":"ACA-ANDR-002e","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-ANDR-002e_Page_1.jpg?v=1721831214"},{"product_id":"flute-music-of-new-york-nywc-nine-pieces-for-flute-alone","title":"Flute Music of New York (NYWC): Nine Pieces for Flute Alone","description":"\u003cp\u003eEditor's Note:\u003c\/p\u003e\n\n\u003cp\u003e\"Flute Music of New York\" is a collaboration between American Composers Alliance and New York Women Composers, Inc., and it features nine works for solo flute by the overlapping members of both organizations.\u003c\/p\u003e\n\n\u003cp\u003eSome of these works are newly presented here, typeset from manuscripts or re-engraved to fix errors. One work, Gina Genova's For Solo Flute, was recovered during the creation of the anthology. Two works are relatively well-known; attendees or followers of the National Flute Association will recognize Marilyn Bliss's Murali from NFA competitions, and fans of Nina Assimakopoulos will recognize Margaret Fairly-Kennedy's Spirit Man from the performances that bloomed after Assimakopoulos's 2015 album Vayu was released.\u003c\/p\u003e\n\n\u003cp\u003eFrom the perspective of a western classical flutist, all nine works are attractive and share a general attention to motivic development. None are strictly atonal, though several works (Bliss's Encounter, Ann Silsbee's Three Chants) develop more through structure than through natural or synthetic diatonicism. Sarah Meneely-Kyder's Air and Water drift melodically; the first improvisationally, the second song-like. The most recent work, Joyce Hope Suskind's Celebration, stands out as a rich venture into a late Baroque\/early Classical style.\u003c\/p\u003e","brand":"Collections and Anthologies","offers":[{"title":"Physical","offer_id":45445807440092,"sku":"ACA-ANTH-016","price":25.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45445807472860,"sku":"ACA-ANTH-016e","price":21.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-ANTH-016e_Page_01.jpg?v=1721842418"},{"product_id":"flute-works-by-american-composers-12-pieces-for-flute-alone","title":"Flute Works by American Composers: 12 Pieces for Flute Alone","description":"\u003cp\u003eAmerican Music for Solo Flute: 1968 - 2017\u003c\/p\u003e\n\u003cp\u003eThe twelve works for flute alone in this collection cover a range of styles, musical languages, skill level, and popularity. Here you will find the modern Impressionist sounds of David Froom's Ribbons and Margaret Fairlie-Kennedy's Spirit Man, the multi-movement tone poems of Vally Weigl and Otto Luening, the experiments of jazz and academia in Stein, Borroff, and Wiggleworth, and influences from the flutes of several cultures scattered throughout.\u003c\/p\u003e\n\u003cp\u003eTable of Contents:\u003c\/p\u003e\n\u003cp\u003eSonata for Solo Flute — Leon Stein\u003cbr\u003eOiseau de la Vie (Bird of Life) — Vally Weigl\u003cbr\u003eDivertimento — Edith Borroff\u003cbr\u003eWind Shadows — Frank Wigglesworth\u003cbr\u003eMeadow Musing — Lionel Nowak\u003cbr\u003eTo Dance to the Whistling Wind — David Froom\u003cbr\u003eSecond Potawatomie Legends — Otto Leuning\u003cbr\u003eSpirit Man — Margaret Fairlie-Kennedy\u003cbr\u003eMurali — Marilyn Bliss\u003cbr\u003eJennifer on Bourbon Street — Frederic Balazs\u003cbr\u003eMonika the Clown — Frederic Balazs\u003cbr\u003eRibbons — David Froom\u003c\/p\u003e","brand":"Collections and Anthologies","offers":[{"title":"Physical","offer_id":45445807538396,"sku":"ACA-ANTH-004","price":35.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45445807571164,"sku":"ACA-ANTH-004e","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-ANTH-004e_Page_01.jpg?v=1721842566"},{"product_id":"koku-twelve-contemporary-works-for-flute-alone","title":"Koku: Twelve Contemporary Works for Flute Alone","description":"\u003cp\u003eTwelve adventurous, contemporary works for solo flute.\n\u003cbr\u003eCurated, and edited by Henry Gale.\u003c\/p\u003e\n\n\u003cp\u003eIncludes the following works:\u003c\/p\u003e\n\n\u003cp\u003eJoan Tower - Hexachords\n\u003cbr\u003eBrian Fennelly - For Solo Flute\n\u003cbr\u003eHarley Gaber - Koku\n\u003cbr\u003eAlison Nowak - Shifting Sands\n\u003cbr\u003eSteven Christopher Sacco - Music for Flute\n\u003cbr\u003eLee Gannon - Derelict\n\u003cbr\u003eGriffith Rose - Riposte: 63 Bars for John Cage\n\u003cbr\u003eJames Yannatos - Eight Haiku\n\u003cbr\u003eHarvey Sollberger - December\n\u003cbr\u003eDarleen Mitchell - Whirling Wings\n\u003cbr\u003eThomas L. Read - Par Devers La Mer\n\u003cbr\u003eJohn McDonald - Two York Peepholes\u003c\/p\u003e","brand":"Collections and Anthologies","offers":[{"title":"Physical","offer_id":45445807735004,"sku":"ACA-ANTH-005","price":40.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45445807767772,"sku":"ACA-ANTH-005e","price":34.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-ANTH-005e_Page_01.jpg?v=1721842710"},{"product_id":"five-etudes-and-a-fancy-wind-quintet","title":"FIVE ETUDES AND A FANCY (Wind Quintet)","description":"","brand":"T.J. 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The fast, upbeat opening Danza reflects these influences. Besides turning itself into a percussive \"wood drum' at times, the piano also simulates the low, deep rolling sea (can you hear where this passage is?!).\n\u003cbr\u003eThe Beatitude of Movement II's title acknowledges those physically blind, but not spiritually. This middle movement is calm and expectant, as if one is hearing and seeing in a world different than our own. Upwardly spiraling passages signal a heavenly direction. \"Purity of heart\" indicates single-mindedness, indicated by the main theme.\n\u003cbr\u003eThe final movement brings together many threads from Mrs. Miller's full and many-faceted life. Having been born in Bavaria, she spent many years in Cuba where her husband was with the American Embassy: a waltz rhythm turns into the dotted notes of the habenera. Her lovely farm in Charlottesville called forth a quote from \"In the Blue Ridge Mountains of Virginia\", woven together with a popular Latin American melody.\n\u003cbr\u003eThe composer, as well as Mrs. Miller at the premiere of this music, is in the \"September' time of life. When the original flutist mentioned that one of her favorite songs was \"The September Song\", Movement III's title was foreordained. You'll recognize the musical quote!\n\u003cbr\u003eThis music shifts between modal and polytonal figures. The composer continues to be interested in slight, incremental changes, for example, in phrase length or melodic figures. (Perhaps music charts a progress of how we change as human beings.) If the formal design were analyzed, one would discover dramatic musical events occurring at points one-third, one half, and two-thirds of the way through each movement.\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479056212188,"sku":"ACA-AUSE-024","price":36.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45479056244956,"sku":"ACA-AUSE-024e","price":24.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AUSE-024e_Page_1.jpg?v=1722939615"},{"product_id":"austin-hommage-for-hildegard","title":"Hommage for Hildegard","description":"\u003cp\u003eComposer's Note:\u003c\/p\u003e\n\n\u003cp\u003eThis work is based on Antiphon No. 16, \"Caritas Abundat\" of Hildegard von Bingen. It consists of five movements, the duration of which grows from the brief first movement, arched to the large third movement and reduced again to the smaller fifth movement, in an arch form. The five sections are meant to be points of a star, with a brief but mystical center at the end of Movement III. Concerning the number symbolism of medieval times, the numbers 3 and 4, as reflected in the duration of these movements and in the overall pulse (rather than meter, which is not defined by the barlines, which primarily serve as conducting\/performing aids) delineate the stance of the listener between God and the world. \u003c\/p\u003e\n\n\u003cp\u003eThe text of this Antiphon has been divided into five parts, with each part comprising one movement of the work:\u003c\/p\u003e\n\n\u003cp\u003eI. Caritas abundat in omnia Complete love abundant everywhere\u003c\/p\u003e\n\n\u003cp\u003eII. De imis excellentissima Of that beneath the most excellent\u003c\/p\u003e\n\n\u003cp\u003eIII. Super sidera Above the stars\u003c\/p\u003e\n\n\u003cp\u003eIV. Atque amantissima in omnia In all the most loving\u003c\/p\u003e\n\n\u003cp\u003eV. Quia summo Regi osculum pacis dedit. To whom, the exalted King,\u003c\/p\u003e\n\n\u003cp\u003eThe kiss of peace is bestowed.\u003c\/p\u003e\n\n\u003cp\u003eThe choice of instruments to accompany the singers, as Hildegard outlined, are also balanced and symbolic. For instance, Hildegard suggests in Scivias that the tambourine would be fitting to accompany songs; the tambourine and the triangle (an expression of joy) are played by the individual singers (if the singers do not wish to play these instruments, they may be played by the percussionist or another player), who, in turn, are heard in concert with flute, clarinet, piano, and percussion. The percussion section includes a variety of drums, suspended cymbals, and tubular bells (chimes), among others, to underscore both Hildegard's instruction as well as her fervor.\u003c\/p\u003e\n\n\u003cp\u003eUpon examination of this Antiphon, one notices the balance found in every parameter of the work. For instance, the beginning and ending pitches of each line (or section) alternate between d and a, with the lowest note in the range (a) being sounded at the mid-junction of the text (\"super sidera'). I have, therefore, sought to balance proportions in corresponding variations on Hildegard's melodic line. Instrumentally, in Movements I and II, the mezzo-soprano is combined with clarinet, the baritone with flute, both of whom are accompanied by piano and percussion; the assignment of instruments to singers is reversed in Movements IV and V.\u003c\/p\u003e\n\n\u003cp\u003eThis sense of symmetrical balance is prevalent throughout: for instance, the use of the retrograde motive (with rhythmic diminution) in Movement II was used as an equilibrium principle. The third movement involves tutti forces, since it is central to the whole. The use of tritonal relations in Movement IV also signifies a balanced octaval juncture while, simultaneously, indicating an affective direction.\u003c\/p\u003e\n\n\u003cp\u003eI called upon the proportion of the Golden Mean (but not doggedly!) in planning significant musical events, instrumental entries, tone color contrasts, or thematic recurrence, but only employed it when the direction of the music allowed. For instance, about one-third of the way through Movement I, the tubular bells (chimes) can be heard, always reminiscent of the sacred. In Movement II, the opening sonorous chords of the piano recur at an important proportional juncture. The sense of symmetry in this movement extends to the appearance of the retrograde version of the theme (in rhythmic diminution) four measures after the theme itself has been presented. In addition, at the point approximately one-third through Movement III (measures 42 ff.), there is a dialogue between the voices and the woodwinds, the woodwinds sounding the final motivic cells of the chant line in retrograde and in diminution, as the voices sing the section of chant from the beginning; the lines meet (measure 47) and then continue on with more chromatic variations.\u003c\/p\u003e\n\n\u003cp\u003eIn using this Antiphon as my inspiration, I wished to retain its basic character and so did not alter its melodic line, as each chant portion was introduced at the beginning of each movement. In Movement IV, one can also hear the eleventh century Sanctus trope, Divinum mysterium, whose English text, \"Of the Father's love begotten\" is related to the message of \"Caritas abundat\"; the melodic direction of certain phrases in these two chants are similar enough to be used in combination in Movement IV. In addition, the specific textural passage in this Movement is \"\"¦atque amantissima in omnia\" (\"..in all the most loving\").\u003c\/p\u003e\n\n\u003cp\u003eThe contrast between proportional and metrical notation allows the performers the desired elasticity to weave in and out of a regular pulse. I sought a certain liberalization of a time\/space line, moving towards a dispersion in textural density in the last two movements.\u003c\/p\u003e\n\n\u003cp\u003eFinally, the use of coloristic instrumentation was directed toward an ecstatic mood, one of turbulence and joy. Only in Movement V, to indicate human and divine suffering, can one hear certain \"weeping' gestures as paradox at the point of text: \"exalted King\". 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