Lowly Conversations for Solo Low Flute and Flute Choir

FINALIST, NATIONAL FLUTE ASSOCIATION'S NEWLY PUBLISHED MUSIC COMPETITION, 2021

Lowly Conversations was composed for the 2nd International Low Flutes Festival in Urayasu, Japan. It is a charming three movement work that features a solo low flute in C or G, accompanied by flute ensemble. The first movement, Metrically Speaking, is an energetic piece that is constantly changing meters. The second movement, Whispering Sweet Nothings, showcases the beautiful lyrical qualities of a low flute. Then, to complete the music that everyone is talking about, Rap It Up!, finishes the dialogue with contemporary flute techniques that will keep the conversation going long after the music stops!

Contrafusion! A Fusion of Musical Styles Featuring Low Flutes

As part of the Falls House Press Metropolitan Flute Orchestra Series, Contrafusion! is a unique addition to the flute ensemble repertoire. Contrafusion! features the low flutes (with optional Contrabass flute), and may be performed with a full flute choir, mixed flute quintet, or mixed flute quartet. The fusion of musical styles in this original work offers a charming opportunity to showcase the qualities of the low flutes in ensemble. Contrafusion! is scored for traditional flute choir instrumentation of Concert Flutes 1-3, Alto Flute, Bass Flute, with optional Contrabass Flute.  Contrafusion! is also available in a low flutes setting scored for Alto Flutes 1-3, Bass Flute and optional Contrabass Flute. This energetic low flutes setting was used as the promo music for the 2020 International Low Flutes Festival in Urayasu, Japan.

Below and Beyond! Three Subterranean Vignettes

Below and Beyond! for Low Flute Choir by Paige Dashner Long. Below and Beyond! was premiered during the 2023 National Flute Association Convention in Phoenix, Arizona. The beautiful tonal colors of the alto flute, bass flute, contrabass flute and beyond, musically depict the mystery and excitement of what lies below the earth’s surface. In each of the three distinct sections of this one movement composition, low flutes are featured, transporting you deep into the caverns of the subterranean world. Many have heard the expression “above and beyond”, well, now it’s time to go “Below and Beyond!”.

There are two different settings of Below and Beyond!

- Traditional flute choir, scored for concert flute 1-3, alto flute, bass flute 1 and bass flute 2/optional contrabass flute;

- Low flutes setting, scored for alto flutes 1-3 (in place of concert flute 1-3), plus alto flute part of traditional setting, bass flute 1 and bass flute 2/optional contrabass flute

Both settings are included in the printed music by ALRY Publications. You will notice some slight adaptations in the two different settings. These are found in the triplets in measures 29 and 31 of the 3rd flute part of the traditional setting and the 3rd alto flute part of the low flutes setting.

Welcome to the wonders of the world below the surface!

Deck Out the Halls: A traditional Welsh carol with a modern twist

This traditional Welsh carol has been given a fresh, modern twist in this fun new composition for the holidays.  Deck Out the Halls is an audience fav! Performers also are excited to play this entertaining and lively music.

There are two different settings of Deck Out the Halls:

- Traditional flute choir, scored for concert flute 1-3, alto flute, bass flute/contrabass flute;

- Low flute choir, scored for alto flutes 1-4 and bass flute/contrabass flute;

Both settings are included in the printed music by ALRY Publications, however, it should be noted that the low flute choir setting is one whole-step higher than the traditional flute choir setting. Thus, they are not compatible with each other and should not be combined.

Bach to the Fluture: A Modern Celebration of Famous Composers by Johann Sebastian Bach

Bach to the Fluture is a modern celebration of famous Bach compositions melding the beautiful melodies and harmonies of some of JS Bach’s most famous music with contemporary rhythms and styles.

The first movement, Sebastian Sheep, is based on the well known “Sheep May Safely Graze” from Cantata No 208. Johann Sebastian Bach was commissioned to compose this piece for the birthday of Duke Christian in 1713.

The inspiration for the second movement, Big Eoin Kisses the Blarney Stone, comes from the popular Bourree 1 from Bach’s unaccompanied Cello Suite No 3 in C major, BWV 1009. This Bourree, a lively and happy dance, is paired with Irish accompaniment and the popular Irish jig “The Blarney Pilgrim”. Eoin is an Irish name for John or Johann and is pronounced similar to Owen.

The final movement, Johnny B Bach, combines the famous Minuet in G, BWV 114 from the Notebook of Anna Magdalena Bach crafted with an original rhythmic motif inspired by Chuck Berry’s Johnny B Goode. During Bach’s time, it was common for artistic families, whether musical, artistic, or literary, to create their own family albums. Three of these were discovered in the Bach household. The first notebook was dedicated to Bach’s first son, Wilhelm Friedemann Bach in 1720, prior to Johann Sebastian’s marriage to his second wife, Anna Magdalena in 1721. The second and third notebooks were gifted to Anna and are comprised of a wide variety of music, from chorales and arias to solo harpsichord pieces. The Minuet in G, BWV 114 is from the second notebook to Anna in 1725. This notebook begins with a pair of movements from a harpsichord suite by Christian Petzold - the Minuet in G Major, followed by the Minuet in G Minor. Originally thought to be composed by JS Bach, it was discovered in 1970 that these two minuets were composed by Petzold.

Bach to the Fluture is scored for concert flutes 1-4, alto flute, bass flute with optional contrabass flute. For low flute enthusiasts, alternate alto flute parts are included as a substitute for the concert flute parts 1-4, providing a low flutes setting.

Dancing Dessert Suite

WINNER, LOW FLUTES SETTING, NATIONAL FLUTE ASSOCIATION'S NEWLY PUBLISHED MUSIC COMPETITION, 2021

Dancing Dessert Suite is a delectable and delightful composition in three delicious movements that combines musically the excitement of travel with scrumptious desserts. The first movement, Chocolate Truffle Tango, takes you to Argentina, beginning sofly in the anticipation of the exciting and dramatic bravura to come. A modern twist on a Viennese classic, Sacher Torte Waltz, is an elegant, whirling, fast paced waltz, guaranteed to make you want a slice of this famous Austrian chocolate torte with apricot jam and luscious chocolate glaze. Pure energetic fun describes the rapid pace of Lemon Merengue Pie, with musical roots from the Dominican Republic. It's time to put on your dancing shoes!

Dancing Dessert Suite is available in three different settings;

• Traditional Flute Choir (ALRY Publications FC508) scored for piccolo, flutes 1-3, alto flute, bass flute with optional contrabass flute and percussion

• Low Flutes Setting (ALRY Publications FC526) scored for 1 concert flute in place of piccolo, alto flutes 1-4, bass flute with optional contrabass flute and percussion

• Solo Flute and Piano Setting (ALRY Publications FP184)

Flutenado

HONORABLE MENTION, NATIONAL FLUTE ASSOCIATION'S NEWLY PUBLISHED MUSIC COMPETITION, 2020

Flutenado is a flutistic meteorological musical wonder composed by Paige Dashner Long, inspired by Florida storms and beautiful beaches. One has heard of “sharknado” and is familiar with tornado, so Flutenado is a flutey combination of both. At the beginning you will hear sounds of the ocean, complete with bird calls.. A calm, lazy day at the beach soon changes as storm clouds roll in, with gusts of wind subsiding into moments of calm. Then, the storm breaks loose into a flurry of rain, wind and waves. With relief, the storm ends quickly, just as the daily Florida summer thunderstorms pop up and then pass through quickly.

Published by ALRY, Flutenado has flexible instrumentation for performance by either traditional flute choir (piccolo, flutes 1-3, alto flute, bass flute, and optional contrabass flute) or low flutes ensemble (1 concert flute in place of piccolo, alto flutes 1-4, bass flute, and optional contrabass flute).

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.

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

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

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.

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):

• Flute 1

• Flute 2

• Flute 5