Three Dances
from Henry VIII
Edward German
Edward German composed Three Dances from Henry VII as incidental music to be performed during Henry Irving’s version of Henry VIII at the Lyceum Theater in London. These are very British and great fun! Each dance can stand on its own or the three dances can be performed together. German incorporates three different types of olde English dances, Morris Dance; Shepherds’ Dance; Torch Dance.
Born in Whitchurch, England in 1862, German was a versatile musician, composing, teaching, and conducting and earning impressive commissions from theater and festivals. Knighted in 1928, he was popular among people and highly regarded among musicians. After his death in 1936, the opportunity to hear his music began to fade. Although best known for his incidental music, German also composed substantial orchestral works.
German’s Three Dances from Henry VIII are versatile and make a strong concert opener, closer or encore. For ensembles without contrabass, bass flutes should play lower notes in divisi sections. If ensembles have contrabass, then basses take upper notes in divisi sections. The optional divisi sections in the concert and alto flute parts give ensembles flexibility for depth of sound, as well as balance. Smaller ensembles should use the upper notes in divisi sections.
Enjoy your musical visit to Olde England!
Allegro Non Tanto
from Orchestral Quartetto in D Major, Op. 8
Bernhard Henrik Crusell
Bernhard Henrik Crusell (1775-1838) was born in Uusikaupunki, Finland, a small village 150 miles northwest of Helsinki. Crusell is the most well known Finnish born composer of the classical period.
Bernhard had a very simple childhood and his father and grandfather were bookbinders. One of four children, Bernhard was the only sibling to live into adulthood. In Uusikaupunki, there was only one person who was musical – a shop assistant who played the flute in the evenings. One would usually find Bernard on the street outside, listening to the enchanting flute melodies.
In 1783, when Crusell was 8, the family moved to Perttula, a small village about 23 miles north of Helsinki. It was in Perttula where he learned to play clarinet by ear, on a borrowed instrument. Soon after, he began to receive formal training from a local musician.
In 1788, a family friend took an interest in Crusell’s musical ability and took him to see the conductor of the Sveaborg Military Band. Seavborg, now known as Suomenlinna, was a Swedish fortress, on an island, just off the coast of Helsinki. Bernhard lived with the conductor’s family and was educated in Sveaborg, excelling in music and languages. In 1791 when the conductor was transferred to Stockholm, Crusell went with him. Although most of Crusell’s life was spent in Sweden, Crusell always thought of himself as a Finn, and continued to write and speak in Finnish, whenever possible.
At the age of 16, Crusell was appointed the director of the military band in Stockholm and earned the principal clarinet spot in the Royal Court Orchestra. Later, he received financial assistance to study clarinet and composition in Berlin for several months. He also studied composition in Stockholm and Paris with well known instructors, including Gossec. In 1982, his birth town of Uusikaupunki, Finland began a “Crusell Week” music festival dedicated to music for woodwinds. This annual summer music festival continues today.
Allegro non tanto is the first of four movements of Crusell’s Flute Quartet in D Major, Opus 8, originally scored for flute, violin, viola and cello. There are two settings of the charming movement: one setting for flute 1, flute 2, alto flute, bass flute, with optional contrabass flute and C alt alto flute; another setting for alto flute 1, alto flute 2, alto flute 3 and bass flute, with optional contrabass flute. This beautiful music works with one player per part (use upper divisi notes) or doubling up with several flutes per part, as desired.
Ballet Egyptien
Suite No. 1, Op. 12
Alexandre Luigini
Alexandre Clement Leon Joseph Luigini, composer, violinist and conductor, studied at the Paris Conservatoire where he earned second prize for violin. Born in Lyon in 1850, Luigini came from a musical family with roots in the Grand Theatre in Lyon. Luigini himself went on to play violin with the theatre orchestra and later conducted the orchestra. Both his father and grandfather also conducted this well known orchestra.
During Alexandre’s tenure as conductor of the orchestra in Lyon, he was expected to compose music for ballets, operas and orchestral suites. In addition, he taught composition and harmony at the Conservatoire of Lyon. He later left Lyon to conduct the Opera Comique in Paris, where he conducted the premieres of several famous works.
Ballet Egyptien is probably Luigini’s most well known composition with the first movement – Allegro non troppo – being most often performed. The optional divisi sections in the concert and alto flute parts give ensembles flexibility for depth of sound, as well as balance. Smaller ensembles should use the upper notes in divisi sections.
This arrangement is scored for piccolo, 4 C flutes, alto flute, bass flute with optional contrabass flute.
Danse Negre
from African Suite
Samuel Coleridge-Taylor
Known to his family as Coleridge, Samuel Coleridge Taylor was born on August 15, 1875 in Holborn, London, England. His father, Dr. Peter Hughes Taylor, a Krio from Sierra Leone, was a prominent administrator in West Africa. Dr. Taylor was visiting London and met an English woman, Alice Hare Martin, who is Coleridge’s mother.
Coleridge spent his childhood in Croydon, Surry, England, where he studied violin with his grandfather. He also sang in the church choir. At 15, he was accepted to the Royal College of Music. During his second year, he changed his major from violin to composition. At the age of 20, Coleridge met the African-American poet Paul Laurence Dunbar. Dunbar encouraged Coleridge to focus on his African heritage. As a result, Coleridge composed his African Suite for piano in 1898. There are four movements, each depicting different African experiences. The most well known movement is the final movement, Danse Negre, with an exciting main theme, lyrical development section and energetic coda.
As a highly respected composer, Coleridge is remembered for numerous excellent compositions and as a man of integrity. Coleridge died of pneumonia in 1912. Carved on his gravestone is a tribute by his good friend poet Alfred Noyes - “Too young to die: his great simplicity, his happy courage in an alien world, his gentleness, made all that know him love him.”
Scored for piccolo, flutes 1-5, alto flute, bass flute with optional contrabass flute, Danse Negre is a delight for both the performer and the audience.
Danse Negre from Coleridge-Taylor’s African Suite - Arr Paige Dashner Long, performed by the Metropolitan Flute Orchestra, in summer residence at New England Conservatory, Boston, Massachusetts
Four Sonatas from ‘Arie e Correnti a tre’, Op. 12
Giovanni Maria Bononcini
Italian composer and violinist, Giovanni Maria Bononcini (1642-1678) was well known in Modena, where from 1671, he served as court musician for Duchess Laura d’Este and violinist at the Modena Cathedral. His two sons, Giovanni Battista Bononcini and Antonio Maria Bononcini, were also musicians and composers.
Best known for his chamber and church sonatas, Giovanni Maria also composed madrigals, arias and cantatas. In 1673, he published an important treatise, Musico Prattico, “che brevemente dimostra il modo di guingere alla perfetta cognizione di tutte quelle cose, che concorrono all acomposizione de I Canti, di cio ch’all Arte del Contrapunto si recerca” - the way to arrive at the perfect knowledge of all those things, which contribute to the composition of songs and what is sought in the art of counterpoint.
These four sonatas from “Arie e Correnti a tre, opus 12” are dated Bologna, 1678. For this arrangement, the alto flutes play in the original key, while the bass/optional contrabass part is transposed. These trios can stand alone, but included is an optional keyboard part.
The flexible instrumentation in this arrangement gives flutists the opportunity for several performance possibilities, all of which can include the optional keyboard part:
Two Alto Flutes and Bass Flute
Two Alto Flutes and Contrabass Flute
Two Alto Flutes, Bass Flute, and Contrabass Flute
Bononcini’s Sonata No 7, Op. 12 in B Minor - Arr. Paige Dashner Long
Mariana Gariazzo, Deborah Rebeck Ash, Paige Dashner Long
Lemminkäinen's Return
from the Lemminkäinen Suite
Jean Sibelius
Lemminkäinen's Return, from the Lemminkäinen Suite by Jean Sibelius, published by ALRY Publications, is the fourth “legend” or movement that Sibelius composed for the Lemminkäinen Suite. It is based on some of the poems from the Kalevala, the national saga of Finland. These poems tell the tales of Finnish folklore or ancient Finnish mythology. Lemminkainen was a young powerful hero, triumphantly returning home on horseback, after many adventures. Sibelius quotes from the Kelevala poem: “Then the lively Lemminkäinen, started on his homeward journey, saw the lands and saw the beaches. Here the islands, there the channels, saw the ancient landing-stages, saw the former dwelling places.” Instrumentation includes piccolo, flutes 1-4, alto flute, bass flute with optional contrabass flute.
The London Trios
Franz Joseph Haydn
Originally composed for two flutes and cello, the London Trios were a gift from Haydn to the Baron of Aston in Preston, outside of London in 1794. These trios were a sort of hostess present in appreciation of his visit with the Baron. The uncommon instrumentation of flutes and cello during this time period was very well received, as the flute was growing very popular in England and considered quite fashionable.
The flexible instrumentation in this arrangement gives flutists the opportunity for several performance possibilities, including a more tradition instrumentation or a unique low flutes instrumentation:
Traditional Instrumentation – Concert Flute 1, Concert Flute 2, Bass Flute or Contrabass Flute
Low Flutes Instrumentation – Alto Flute 1, Alto Flute 2, Bass Flute or Contrabass Flute
arrangement for flute choir or flute quartet
Arrangement for low flutes
Angelus! Priere aux Anges Gardiens (Prayer to the Guardian Angels)
Franz Liszt
Traditional flute choir setting and low flutes setting
Composed in 1877 and arranged for string quartet in 1882, the flute choir / flute quartet arrangement of Liszt’s beautiful Angelus! Priere aux Anges Gardiens (Prayer to the Guardian Angels) is scored for Flute 1, Flute 2, Alto Flute, Bass Flute and optional Contrabass Flute. In a separate publication, the low flutes setting is scored for Alto Flute 1, Alto Flute 2, Alto Flute 3, Bass Flute and optional Contrabass Flute.
Franz Liszt (1811-1886) is well known and loved for his virtuosic piano works, as well as sacred and secular songs, orchestral and chamber music. By most, he was considered the greatest pianist of his time, if not all time. With unusually long fingers, Liszt could play intervals of 10ths and wrote rapid passages including consecutive 10ths. French composer Hector Berlioz said “Regrettably, one cannot hope to hear music of this kind often: Liszt created it for himself, and no one else in the world could flatter himself that he could approach being able to perform it.”
Angelus! is part of a three volume, solo piano suite composed by Liszt entitled “Les annees de pelerinage” or “The years of pilgrimage”. This ethereal prayer is part of the third set, No 1, composed during the later part of his life. With evocative complex harmonic development, the third set contains less virtuosic content. Liszt is quoted to have said “In early October, there was the holiday of the Holy Angels. I wrote a hundred or so measures for them….. and wish I could better express my intimate devotion to the divine messengers.” Dedicated to Liszt’s granddaughter, Daniela von Bulow, Angelus! is truly music of the angels.
During his life, Liszt traveled extensively, visiting and performing in many countries in Europe, from Turkey to Ireland, as well as Portugal to Russia. This Hungarian composer and pianist spent a considerable amount of time living in Vienna, Austria; Weimar, Germany; and Rome, Italy. He led an intriguing life, visiting a vast array of countries and meeting numerous composers and musicians. Liszt was very generous, as he helped countless composers and performers through his musical guidance and monetary gifts.
Dedicated to the Florida Flute Orchestra, Angelus! is an inspiring musical composition that is quickly becoming a favorite of flutists and those who hear this magnificent angelic, musical prayer. The Metropolitan Flute Orchestra, in summer residence at New England Conservatory, performed this arrangement while on tour in Hungary, Poland and the Czech Republic in 2014.
Symphony No 9 in E Minor, opus 95 “from the New World”
Antonin Dvorak
Antonin Dvorak’s Symphony No 9 in E Minor, opus 95 “from the New World” is perhaps this Bohemian composer’s most well known and loved composition. Premiered at Carnegie Hall on December 16, 1893, the “New World” Symphony was the first work Dvorak completed during his 2½ year stay in America or his “new world.”
In 1888, wealthy American arts patron, Jeannette Meyer Thurber, founded the National Conservatory of Music in New York City. In 1891, Thurber’s wish was to find a musical director for the conservatory with an international reputation. Many American musicians were very interested in the position, but American music had not yet developed a global reputation. So, Thurber invited Antonin Dvorak to become the director of the conservatory. At the time, Dvorak was a music professor at the Prague Conservatory in Austria-Hungary, which is now known as the Czech Republic. In 1892, Dvorak accepted the position as the director of the National Music Conservatory, which was the forerunner of what we today know as The Juilliard School.
While in New York, Dvorak began composing works with a distinct American flavor. Using melodies and motifs reminiscent of American folk tunes, Dvorak masterfully created the famous Symphony No 9, “New World.” This began a legacy to a style of music that was distinctly American.
The Allegro con fuoco, the fourth and final movement of the “New World” Symphony, is originally scored for full symphonic orchestra. Although the orchestral work does not include piccolo, this flute choir arrangement uses piccolo to cover the very high passages of the first violin section.
In some of the parts, you will notice a small harmonic marking. These indicate sections where strings are playing harmonics in the original work. Harmonics played by flutes are quite a bit different than harmonics played by strings. Flutists should play very softly, with no vibrato, using a thin, shimmery tone color during these indicated harmonic passages.
Scored for piccolo, flutes 1-4, alto flute, bass flute with optional contrabass flute, this arrangement is crafted for flute ensembles of many sizes. For large flute choirs, the divisi sections create the lush harmonic texture found in the original work. Smaller flute choirs will also enjoy performing this treasured work by simply using the top notes of divisi sections.
On July, 20, 2014, the Metropolitan Flute Orchestra, in summer residence at New England Conservatory, premiered the flute orchestra arrangement of Dvorak’s Allegro con fuoco from the New World Symphony. Director Paige Dashner Long created this arrangement for the ensemble’s 2014 concert tour to Hungary, Poland and the Czech Republic.
Kindersymphonie in C Major, "Toy Symphony"
Franz Joseph Haydn
For over 200 years, Haydn’s charming composition Kindersymphonie in C Major, also known as the “Toy Symphony”, has delighted audiences and musicians of all ages. There is much confusion and speculation about who actually composed the Toy Symphony. One might say Leopold Mozart; another might say it was Haydn’s brother Michael; still others might claim it was an Austrian monk, Edmund Angerer. An imaginative story was concocted that Haydn composed this work after purchasing several toys at a fair while visiting Berchtesgaden, Bavaria in 1788. It is suggested that Haydn wanted to entertain the children at Esterhaza, where he was employed by Prince Esterhazy of Hungary. Regardless, this three movement divertimento for toys amuses all who experience it.
The “toy” instruments heard in this work are trumpet, tenor drum, cuckoo, nightingale, rattle, and triangle with a surprise appearance of a quail in the trio section of the Menuetto. Most well-equipped percussion departments have these instruments readily available. It is also possible to find these “toy” instruments at a store that sells percussion instruments. The drum should not have a snare. A wooden ratchet is recommended, as it is visually great fun to see the wooden ratchet whirling in the air, rather than seeing someone cranking on a metal ratchet. The cuckoo may be played on recorder, wooden whistle, cuckoo bird call whistle or ceramic bird. Since these cuckoo instruments can be soft spoken, it is certainly fine to use two cuckoos. It also works well to use two nightingales. The trumpet part may be played using a toy trumpet or a real trumpet. In either case, the trumpet must play the pitch of concert G. Although there is not a separate contrabass flute part, the contrabass flutes should play the bass flute part. (They shouldn’t miss out on the fun!)
The flute orchestra arrangement of Haydn’s Toy Symphony was premiered by The New England Conservatory Summer Metropolitan Flute Festival Orchestra in July of 2013. For the premiere, the arranger of this flute orchestra piece, Paige Long, was not only the conductor, but the surprise quail in the Menuetto. It was an amusing surprise for the audience to see the conductor become a toy quail in the middle of the piece. Conductors, if you choose to do this, memorize the short little quail part and hide the quail whistle until it is time to play it. During the trio section, turn and face the audience, as you play the quail part.
Haydn’s Toy Symphony is the perfect piece to have some serious musical fun!
Symphony No 41 in C Major, K. 551, “Jupiter”
Wolfgang Amadeus Mozart
The history of Mozart’s magnificent Symphony No 41 in C Major, K. 551, “Jupiter” is shaded with mystery and speculation. Some believe that Mozart composed his final symphony, “Jupiter” during the summer of 1778, along with Symphonies No. 39 in Eb and 40 in G Minor. Others debate that this scenario has no proof and is highly unlikely. A major symphonic work during this time was typically commissioned by royalty or a wealthy patron. Some people believe that it would not have been possible for Mozart to compose not only one, but three major symphonies, in such a short time period. It is also known that Mozart was facing serious health and financial issues during this time frame. This further supports those who think that perhaps his 41stSymphony was composed much earlier and not completed until the summer of 1778. Even the origin of the nickname “Jupiter” is questioned. What is certain is that Mozart did not name this symphony “Jupiter.” Some claim that Haydn’s friend and impresario Johann Peter Salomon coined the nickname. Others say that it was Mozart’s son Xavier or German pianist Johann Baptist Cramer who was responsible.
Allegro vivace, the first movement of the Jupiter, is in sonata allegro form. After the tutti introduction of the main theme, with a lyrical, tentative melodic response, Mozart expanded and developed these musical ideas. Toward the end of the first movement, Mozart borrowed a melody from his aria “Un bacio di namo” K. 451 that he contributed for Pasquale Anfossi’s opera Le gelosie fortunate. This little aria melody twists and turns before the recapitulation of the beginning, majestic fanfare re-appears to complete the movement.
This arrangement is scored for Flutes 1-4, Alto Flute, Bass Flute, with optional Contrabass Flute. You will notice quite a few optional divisi sections in the Concert Flute parts, as well as the Alto Flute parts. It is possible to perform this arrangement with only one player per part, but the harmonic support for the Flute 3 melodic content will be missing. You will need two flutists on Flute 3 to best perform this arrangement. It is also nice if you have two players to cover the optional divisi on the Flute 4 and Alto Flute parts. Dedicated to the 2012 New England Conservatory Summer Metropolitan Flute Festival Orchestra, the Allegro vivace from Mozart’s 41st Symphony, “Jupiter” has a performance time of approximately 8 minutes without the optional repeat.
The cover photo is Salzburg, Austria, Mozart’s birthplace.
Sinfonia to Cantata No 29
J.S. Bach
J.S. Bach’s magnificent Sinfonia to Cantata No 29 “Wir danken dir Gott, wir danken dir” – “We thank you God; we thank you” was premiered in Leipzig, Germany to commemorate the inauguration of the Town Council, on Aug 27, 1731. Originally the work was composed as the first movement of the Violin Partita #3 in E, BWV 1006. Bach transferred this prelude to his partita for solo violin and created a joyous orchestral setting including 3 trumpets, two oboes, strings, continuo, timpani and solo organ to be used for the inauguration. Today, this ceremonial sinfonia is often performed by solo organ.
The piccolo parts of this flute orchestra arrangement closely follow how an organist would perform the music. An organ is comprised of several parts; the console, which holds the keyboards or manuals as well as the “stop” controls, and the pedalboard. A “stop” is a distinctive set of pipes or sounds generated by the organ. Organists select what type of sound they want to create by choosing different combinations of stops, called registrations. When an organist is performing this Bach Sinfonia on an instrument with more than one keyboard or manual, the organist will choose a bright, full registration on the main keyboard of the organ. This main keyboard is known are the Great manual. The organist will also select a softer registration on another manual, known as the Swell manual. When the piccolo is playing, this would be similar to an organist playing on the Great manual. When the piccolo has switched to concert flute, this would be similar to an organist playing on the Swell.
This arrangement has very interesting textural and dynamic contrast, even though there are just a few dynamic markings in the parts and score. In addition to the creative use of piccolo, the dynamics and textural contrasts are achieved through the thoughtful scoring of different flute parts playing in various registers of the flute range. You will also notice an alternating dialogue between some of the flute parts. For the exciting conclusion of the Sinfonia, play with as much energy and sound as musically possible. An organist might say “Pull out all the stops!”
This flute orchestra arrangement, premiered on July 26, 2009 by the New England Conservatory Summer Metropolitan Flute Festival Orchestra in New England Conservatory’s renowned Jordan Hall, is scored for Piccolo, Flute 1, Flute 2, Flute 3, Alto Flute and Bass Flute, with optional Contrabass Flute. Originally scored for chamber orchestra in D Major, Paige has arranged this work in C Major, showcasing the very bottom of the flute range.
Cover photo is a bronze statue of JS Bach, standing outside of St. Thomas Church in Leipzig, Germany. The Sinfonia to Cantata No 29 was premiered in Leipzig, and Bach served as cantor and choir master at St. Thomas Church.
Hymnus, Opus 57
Julius Klengel
(1859-1933)
German cellist and composer Julius Klengel’s Hymnus, Opus 57 is a lush, chordal spiritual, dedicated to the memory of Austro-Hungarian conductor Artur Nikisch.
Born in Leipzig, Klengel began playing in orchestras at the young age of 15 and was appointed principal cellist of the Leipzig Gewandhaus Orchestra at the age of 22. After touring in Europe and Russia, he became a well known and accomplished soloist. Klengel was a professor at the Leipzig Conservatory and composed volumes of works for cello, including 4 cello concertos, 2 double cello concertos, cello quartets, 1 cello sonata, as well as various etudes and caprices. It is also interesting that Klengel’s father was a friend of Felix Mendelssohn.
Originally scored for 12 cellos, this setting of Hymnus has very flexible instrumentation possibilities. This work may be performed by an ensemble of all concert flutes, or all low flutes including an ensemble comprised of only alto flutes, only bass flutes or any combination of instrumentation. Included for each part is a setting in concert A for instruments in C, and on the reverse side of the page for each part, you will find a setting in concert D for instruments in G. This beautiful work is published by Falls House Press.
With careful attention to the musical structure of this work, assigning parts is very interesting, fun and flexible. You will notice three groupings of parts, as well as full sections with all parts playing. After a full introduction from measures one through eight, Flutes 5-8 play a beautiful theme that is passed onto Flutes 1-5 at letter A. Flutes 9-12 assist in the connective passage from measures twenty five through thirty two. You will find another connective passage from Flutes 6-12, beginning at measure forty nine, before the entire ensemble joins in at letter B.
If using a mixed ensemble of concert flutes, alto flutes, bass flutes and/or contra flutes, it is best to assign the alto, bass and contra flutes to the lower voices in parts 9-12. It is also fine to keep all of the lower flutes on parts 11 and 12 or simply part 12. Flute 5 has a unique role as, at times, flute 5 is the top voice in a section (measures nine through twenty five) and then flips to become the lower voice of a passage (measures thirty four through forty nine).
Another nice possibility, if using all instruments in C (all concert flutes or concert flutes and bass flutes) is to have the C instruments read the instrument in G parts, playing Hymnus in concert D. Obviously, this is only possible if you are not using alto flutes. It is also fine to have an ensemble of all instruments in C play the concert A setting. See which setting you prefer. The concert A setting will be brighter, while the concert D setting will be darker. If you have an ensemble of alto flutes, you can try the same. If your ensemble is mixed, then you will need to play Hymnus in concert A.
If you prefer melodic flutes playing in the middle register of the flute range rather than the upper register, please use the downloadable, alternate lowered flute parts for Flute 1, Flute 2 and Flute 5. Alternate lowered parts may be found at the end of these program notes or on the Falls House Press website.
In Flute 1, Flute 2, Flute 3 and Flute 5, you will find cued notes for the connective passages. Depending on the size and instrumentation of your ensemble, these cued notes can be very helpful. The little connective passages look innocent, but can be quite tricky to play musically. Shaping the musical phrase, so that the higher notes are more delicate than the lower notes, help these phrases come to life. Within the connective passages, there are some beautiful harmonic tensions that are resolved at the end of the phrases. (Connective passages can be found at measures twenty five through thirty one and measures forty nine through fifty five.)
Another unique possibility lies within Flutes 8, 9, 10, 11, and 12. You will notice optional pizzicato. When you see the marking pizz, you may choose to use tongue pizzicato; when you see the marking arco, return to normal tonguing. This quasi-percussion effect possible on the flute is produced by fingering the notated pitch and producing a hard "T" with the tongue, while keeping your throat closed. Some flutists prefer to produce this sound with a forcible opening of the lips, or "lip pizzicato”. I find it very helpful to think of the syllable “toop” for tongue pizzicato. For fun, search the internet for “flute tongue pizzicato” and quite a few things pop up, including technical information as well as video. Strauss’s Pizzicato Polka is a great piece for this technique.
Alto flutes might be surprised to see an optional low B. Alto flutists do not need a low B to play this arrangement. Although rather unusual, some alto flutes have a B foot. For those lucky alto flutists, enjoy the rare opportunity to play a few low B’s.
The Florida Flute Orchestra premiered this setting of Klengel’s Hymnus during the 2012 Florida Flute Convention.
Alternative Klengel Hymnus parts (PDF):
Metropolitan Flute Orchestra on tour in Bratislava, Slovakia
This has concert flutes, with alto, bass and contraflutes. For this, I used the alternate lowered 5th flute part. I also had two people assigned to Flute 1. One person played the part as published, the other person played the alternate lowered Flute 1 part.
National Flute Association Vegas Low Flutes Concert
This ensemble is comprised of alto flutes, bass flutes, contrabass flutes in C, F and G, and sub contrabass flutes in G and C as performed during the 40 BeLow Concert during the National Flute Association Convention in Las Vegas; directed by Paige Dashner Long.
Respighi’s Passo mezzo e Mascherada
From Ancient Airs and Dances Suite No 1
Arranged for flute ensemble by Paige Dashner Long
Respighi’s Mascherada from Ancient Airs and Dances Suite No 1 is now available for flute ensemble, published by Falls House Press. The arrangement, premiered on July 25, 2010 by the New England Conservatory Summer Metropolitan Flute Festival Orchestra in New England Conservatory’s renowned Jordan Hall, is scored for Flute 1, Flute 2, Flute 3, Flute 4, Flute 5, Alto Flute and Bass Flute, with optional Contrabass Flute.
Ottorino Respighi (Bologna 1879- Rome 1936) was fascinated with early lute music, studying in particular the transcribed works of Oscar Chilesotti (1848-1916). Chilesotti transcribed several sixteenth and seventeenth century dances and airs for the lute. Respighi, a scholar of musical antiquity, choose several of these lovely ancient airs and dances, making three suites, each comprised of four movements. Using modern harmonies and orchestration, Respighi beautifully crafted these suites for chamber orchestra, each receiving enthusiastic response from audience and musicians. With a simple melodic line and rich orchestration, Respighi’s unique talent and skill are showcased in these spirited compositions.
Passo mezzo e Mascherada from Ancient Airs and Dances Suite No 1 is the fourth movement of his delightful first suite. You will notice two contrasting sections: a fast paced passo mezzo and a light Italian 16th century secular choral song (villanella) or mascherada, which was typically sung at masked balls.
With careful attention to dynamic contrast, articulation and tempi changes, Passo mezzo e Mascherada beautifully showcases the different colors of a flute ensemble.
Welcome to the masquerade ball!
Paige's Arrangements Available as Digital Downloads
Felix Mendelssohn's Allegro vivacissimo from Symphony No 3 in A Minor "Scottish"
Arranged for flute ensemble by Paige Dashner Long
On July 30, 1829, while visiting Scotland, 20 year old Felix Mendelssohn was inspired to compose what is now known as Symphony No 3 in A Minor, Scottish. He wrote home to his family “In darkening twilight today, we went to the Palace [of Holyrood] where Queen Mary lived and loved. The chapel beside it has lost its roof and is overgrown with grass and ivy, and at that broken altar Mary was crowned Queen of Scotland. Everything there is ruined, decayed and open to the clear sky. I believe that I have found there today the beginning of my Scotch Symphony." Mendelssohn’s fascination with Mary Queen of Scots and Scottish history are important factors in understanding his Scottish Symphony. At the beginning of the 4th movement that will be performed today, Allegro vivacissimo, the listener will hear battle calls in reference to a poem written by family friend Karl Klingemann, that mentions the Battle of Killiecrankie of 1689 and the Jacobite uprising in 1745. The music of the last movement of the symphony, originally marked Allegro Guerriero – fast and warlike, suggests a battle, with syncopated rhythms in the upper voices with an underlying soldiers march from the lower instruments. Musical passages conjure up the chaos of combat until later in the movement when the music almost halts. A new theme emerges from the lower voices, in A major, and gradually rises up, as if going to the tops of the Scottish Highlands, celebrating victory in a triumphal finish.
Scored for concert flutes 1-5, alto flute, bass flute and contrabass flute, the Metropolitan Flute Orchestra, in summer residence at Groton Hill Music Center, performed this arrangement during the 2023 Metropolitan Flute Orchestra Festival Concert on June 25.
Contact Paige for digital download details.
Meghan Trainor and Kevin Kadish's All About That Bass, clean lyrics setting
Arranged for flute ensemble by Paige Dashner Long
All About That Bass, words and music by Meghan Trainor and Kevin Kadish, is an award winning pop song that is now skillfully arranged for flute choir by Paige Dashner Long. Flute ensembles of any size can now perform this fun and accessible music! (using one person per part or doubling up on parts) This arrangement is scored for concert flutes 1-4, alto flute, (alternate C flute part included), and bass flute/optional contrabass flute.
This product was created by a member of ArrangeMe, Hal Leonard’s global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.
MARTIN’S MIXING THE MALT
Arranged for flute ensemble by Paige Dashner Long
Peter Martin’s energetic Mixing the Malt is now available for expandable flute ensemble. Arranged by internationally known flutist Paige Dashner Long, this work can be performed by a minimum of flute quartet (Flute 1, Flute 2, Flute 3, and C alternate alto flute/alto flute) or expanded to any number of flutes up tofull flute orchestration of piccolo, Flute 1, Flute 2, Flute 3, Alto Flute, Bass Flute with optional contrabass flute and optional percussion.
Parts for Flute 1, Flute 2 and Flute 3 are identical in both the quartet and expanded flute orchestration, but the C alternate alto flute/alto flute part(s) in the quartet setting is slightly edited for optimum performance by flute quartet. The scores also reflect these minor differences. Be sure to select the score and C alternate alto flute/alto flute part that you prefer. Conductors who are using percussion may prefer to use a score without percussion for less page turns. Scores are available for flute quartet (no percussion), expanded flute orchestra and expanded flute orchestra with percussion.
Optional percussion parts include: Tenor Drum or Bodhran (traditional Irish Drum), Triangle, Woodblock, and Timpani. Select them all or just choose those that you prefer. It’s also fun to add Penny Whistle to the Flute 1 part.
Dedicated to the Metropolitan Flute Orchestra, in summer residence at New England Conservatory in Boston, this ensemble, directed by Paige, is pictured here on tour in Ireland. The Metropolitan Flute Orchestra performed Martin’s Mixing the Malt during their concert as part of the National Flute Association Convention in New York City on Friday, August 14, 2009.
Contact Paige if you would like to purchase a copy of Mixing the Malt. Remember to specify the desired score and C alternate alto flute / alto flute part that goes with the score you’ve selected. Score choices include: Full Flute Orchestration with percussion; Full Flute Orchestration without percussion; or Flute Quartet Score. Remember that the C alternate alto flute part /alto flute part is slightly different for the quartet. If you have any questions, don’t hesitate to e-mail Paige. Make reference to flute in the subject line of the e-mail.