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Notes for Flutists

Notes for Flutists - A Guide to the Repertoire: ab 27.99 €

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Fans of Angela Hewitt will be delighted to find her in chamber mode, accompanying Andrea Oliva (described as 'one of the best flutists of his generation, a shining star in the world of the flute' by Sir James Galway) in a programme of J S Bach's flute sonatas (including one by his most famous and talented son, CPE).

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Sentimental Scenes

Carol Hohauser and Matthew Marshall have been performing together since 1993 and have established themselves as New Zealand's premiere flute and guitar duo. They have performed throughout New Zealand and have also toured Australia, USA, Mexico, Germany and Russia. They have featured at the Cervantino Festival in Mexico, performed concertos with the Berlin chamber Orchestra in Germany, the Kuzbass Philharmonic Orchestra in Russia and the Guanajuato Symphony Orchestra in Mexico. Carol Hohauser is one of New Zealand's most outstanding flutists. She studied at the Manhattan School of Music, the Juilliard School and Columbia University. She has performed with the New Zealand Symphony Orchestra and has appeared on many of their CDs, recorded numerous programmes for Radio New Zealand and has won a Mobil Radio Award. Matthew Marshall is one of New Zealand's leading classical guitarists. He studied with William Bower, John Mills, Gordon Crosskey and David Leisner and has given recitals throughout Europe, Australasia, Pacific Islands and North America. He has given over 70 concerto performances with all the major New Zealand orchestras as well as with orchestras in Mexico, Germany and Russia.

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Twentieth Century Flute

Ervin Monroe is one of America's most distinguished flutists. Born in the rural south, Ervin was largely self taught. By age sixteen he was driving fifty miles each week to play Principal Flute in the Pensacola Florida Symphony. His dedicated musical efforts eventually won him full scholarships for flute performance study at the Oberlin Conservatory of Music and the Manhattan School of Music. At age nineteen he studied in Austria and toured as a member of Salzburg's Mozarteum Orchestra, but decided to complete his musical studies in the states and vie for a position with an American symphony. While working on a master's degree at the Manhattan School of Music, Monroe was hired to play Principal Flute for the American tours of the world's most prestigious ballet companies, inluding the Bolshoi, Royal Danish and Royal English Ballets. At age twenty-three he was the youngest wind player selected to play in the Chamber Symphony of Philadelphia and record chamber music for RCA Red Label Classics. Just two years later he was appointed Principal Flute of the Detroit Symphony, a position he held for 40 years until his retirement in 2008. One of the 20th century's most recorded Flutist's, Mr. Monroe can be heard on over 100 great Symphonic recordings with legendary conductors such as Antal Dorati & Neemi Jarvi, in addition to extensive discography of solo, duo and holiday CD's. Monroe is a musician of great versatility. Flutist, composer, arranger and conductor, he is one of the most published flutists today. Ervin is a frequent lecturer and recitalist throughout the Americas and abroad. His congenial teaching style and his warm, expressive performance approach are transferred to his articles and periodicals that have appeared in leading music publications worldwide.

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A Flute Tootin Yule

A Flute Tootin' Yule warmly celebrates the Christmas spirit, drawing on the natural beauty of instruments from the flute family. From poignant to playful, this exceptional collection of vibrant arrangements from some of Hollywood's most talented composers and orchestrators uniquely captures the excitement and grace of the holiday season. Resonance Flute Consort, comprised of professional flutists from the Los Angeles area, is a distinct ensemble featuring the entire range of flutes from piccolo to contrabass. This combination of first-rate musicians and innovative pieces, crafted specifically for this group, allows Resonance to offer a dynamic listening experience, challenging the traditional role of the flute as a purely symphonic or solo instrument. Trill Key Records proudly presents this captivating, fresh perspective on some of your Christmas favorites. A Flute Tootin' Yule is a wonderful musical surprise. From the piccolo to the contra-bass flute, this ensemble of consummate artists performs an array of holiday favorites in grand style. Their seventeen inspirational renditions of holiday favorites will certainly bring smiles all around year after year. This CD is full of joy, and highly recommended. Alf Clausen, composer - The Simpsons A Flute Tootin' Yule is an excellent example of musical perfection, interpretation, and spiritualism. The idea of creating a flute choir is extraordinary and replicates the traditional voice choruses that are usually related to Christmas celebrations. The choice of repertoire is impeccable, and I would invite anyone who would like to enjoy the holiday celebration to listen to A Flute Tootin' Yule. Lalo Schifrin, composer -- Mission Impossible This CD is one of those that needs to be in everyone's Christmas collection. It is full of great and clever arrangements performed by truly fine flutists! Jim Walker, flutist on over 400 motion picture soundtracks, Former principal flutist of the Los Angeles Philharmonic, leader of jazz-classical fusion quartet Free Flight A Flute Tootin' Yule captures the fun and meaning of Christmas with terrific performances that bring a unique sound to the wonderful music of the season. You can't listen to this recording without smiling and remembering why you love the holidays. Richard Kaufman, Principal Pops Conductor: Dallas Symphony Orchestra, Pacific Symphony, The Florida Orchestra What a welcome addition to holiday music collections! Imaginative, sparkling transcriptions by a group of L.A.'s top flutists. Anne Diener Zentner, Principal Flutist, Los Angeles Philharmonic.

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Edwards, Gail : Easy As

Flutist Gail Edwards is a member of many prestigious groups including The Sacramento Philharmonic, Opera and Ballet orchestras as well as the Napa Valley and Modesto symphonies. Ms. Edwards also performs with other Bay Area orchestras including the San Francisco Ballet and Opera orchestras and has also performed Broadway productions of shows touring through San Francisco. In addition to performing works from traditional flute repertoire, Ms. Edwards has created arrangements to fit the needs of any given ensemble. Some of these arrangements can be heard on her CD 'Easy As' which showcases various combinations of flutes - piccolo, alto, and bass flute - with pianist Michael Slaughter. Funded by a grant this CD features original compositions by American composers as well as exclusive arrangements by Ms. Edwards. In 2005, Ms. Edwards recorded a sound track for the new exercise PBS series, 'Classical Stretch'. She has also recorded sound tracks for independent film makers and in-house producers. As a teacher, Ms. Edwards serves on the faculty of the University of San Francisco, where she is currently the Director of the USF Orchestra, Chamber Music and Woodwind teacher. She is the Director of the Flute Choir at San Francisco State University, and is an Artist-in-Residence at The San Francisco (High) School of the Arts. Ms. Edwards also has a very active home teaching studio, GEMS. Ms. Edwards received her Master of Music degree from the San Francisco Conservatory in 1986. She has studied with some of the world's pre-eminent flutists in a variety of settings that include private studio work and in master classes.

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The Fuzzy Dice Man Cometh

In the summer of '63, at the age of 11, Buck formed his first band, The Centuries . An April Fools 2012 epiphany urged Buck to pick up where he left off 38 years ago. That same year on August 16th, Buck purchased the Quantum Leap East-West Silver Orchestra On-A-Disc. In April 2013 he enrolled in school to continue his edification in composition, arranging and orchestration. The following collection was produced during the period of May 2012 to July 2013. The Breakfast in Bed Ballet (4:45) This piece is an adaptation of a ballad I had written called I Can Live with That. The lyrics open with awaking to the dawn with your loved one beside you. The bouncy melody in the chorus suggested a dance, ergo ballet. I was compelled to add additional cadences and an interlude before the final chorus. The chorus ends on a comically sour note denoting it's time get out of bed and face reality. Soundtrack for your Nightmares (1:34) Based on Thirteen Flutes a-Floating (read about it's conception below). In this version the X-axis denotes the musical pitch while the Y-axis represents time. I like listening to this before I go to bed. String Section One (4:13) This started out as an exercise in modulation and articulation for a string quartet, but it got of control. I did what I could to pull the reins in, but it needed that Contrabass. And it started out as a sweet melody with thoughtful chord changes but rock chord changes are a part of my psyche, so I couldn't resist using them in the "chorus." I consider them, "Neapolitans." Due to the forceful articulation, it is recommended that string players use their worst instrument. Temple Bells (3:04) An upbeat festive theme based on the Mongolian/Chinese pentatonic scale. It has a seasonal taste suitable for the Christmas holidays. The violas get the pluck pizzicato-ed out of them. A Hole-in-One (3:47) Based upon a song I had written using golf as a metaphor for hope and eventual triumph. Picture a fairway with a green flag in the distance, on it the number 1 flapping in the breeze. Experience the excitement, the exhilaration, that rush of adrenaline accompanying the heraldic victory of spotting your ball wedged between the side of the cup and the flag pole. I suck at golf, but I'm not bad at "putt-putt" (miniature golf). Even there, watching your ball bounce off the shallow brick wall bordering the green, ricocheting off a rock positioned in the middle of the path, and down across the lie from hell into the cup is pretty cool. Washboards are used to introduce the basic rhythm sequence at the beginning. Washboards were employed because they suggested a hand scrub cleaning and I understand that golfers scrub their balls before teeing off. Thirteen Flutes a-Floating (1:29) It's your freshman year in Music College and it's 1970 and you're eighteen and you got no gig and it's Saturday night and you're staring at a lava lamp on the dining table in a friend's apartment on the Northwest side of Chicago and there's a steno pad with a marking pen on the table and it's within reach and you decide to draw the globular activity in the lava lamp in phases and look at the lines on the paper and see a music staff and imagine a grid where the horizontal lines (X-axis)denote time moving from top to bottom and the vertical lines (Y-axis) and the space to the right of each line denote the pitch moving from right to left and wherever an image appears a musical note of predetermined pitch and duration is played by one or more of thirteen flutes you chose because you're Major is in Woodwind Performance and your friend has a flute. Please note: This composition was performed a year later at Triton College. There weren't enough flutists so clarinets were substituted. The title is derived from the Twelve Days of Christmas and the sound of water droplets echoing in a cave. I don't what prompted me to add the sound effect. But I like it. March of the Mouth Puppets (3:56) A 12-tone melody was derived from the roll of twelve musician's dice. (Twelve 12-sided die, each side notated with a note from our chromatic scale.) Artistic liberty intervened and two notes were switched. Four underlying chords were determined by the dice as well by rolling four sets consisting of three dice. Artistic liberty was again applied to determine the triads. In the beginning the 12-note theme is stretched over 16 bars and later presented in 1/4, 1/8 and 1/16 note patterns in a fugue-like form. Outside the serialism is the Tuba playing a melodic bass line based on the aforementioned triads and 12-tone theme. The Tuba is a sealed 55-gallon barrel holding back a chromatic beast wanting to free itself of the barrel's melodic restraints. Toward the end of the "fugue" I thought the piece was going to explode. The orchestration is designed to sound like a marching band, locked in step to the beat of an ominous bass drum, the instruments saying the same fearful thing, over and over, drumming it in, only with a different annoying tone of voice, especially that bitchy piccolo. Of course the marching band is a metaphor for the pundits that permeate our meta-media with their propaganda. Chance Constellation Observation 1930 (2:19) This a representation of "Constellation According to the Laws of Chance -1930" artist: Jean (Hans) Arp. A grid where both the X and Y- axis determine the pitch and the Z-axis representing note time/duration is a series of concentric rings. The scales used are whole tones starting on C and C#. At the center of the rings are C4 and C#4. C4 is plotted along the vertical axis going up to the C7s and going down to the C1s. C#4 is plotted along the horizontal axis going right to the C#7s and going left to the C#1s. Time begins in the center and moves outward through each ring in clockwise fashion. The rings are divided into quarters with each quarter segment being one beat in 4/4 time. Wherever the black and white images appear there is a note. On occasion artistic license was applied. From Inside the Zodiac Ride at the Cosmic Carnival (7:51) Imagine you're on a carnival ride on which the Astrocab you're in glides along rails in 7/8 time. From the rail on the left emanates the sound of intermittent twinkling stars provided by a harp playing a B7sus4 pad. And on the right, that rail carries an intermittent electrical hum produced from a low-end string section consisting of violas, cellos, and basses playing with the same B7sus4 pad. Entering the ride and following the Zodiac the composition opens with Aquarius (January) and ends with Capricorn (December). Two schools of thought start the zodiac with the key of C Major (Aquarius) stepping through a cycle of fifths and ending in F Major (Capricorn), or starting in Bb Major moving chromatically and ending on A Major. For this piece both keys were juxtaposed in poly-chordal fashion (IE: C Major over Bb Major, G Major over B Major, etc.). This limited the scales of each double-key to six notes, sometimes five. Artistic license was applied on a few occasions. Each sign of the Zodiac receives approximately 30 seconds of treatment. Aquarius the Water Carrier (Air) January Pisces the Fish (Water) February Aries the Ram (Fire) March Taurus the Bull (Earth) April Gemini the Twins (Air) May Cancer the Crab (Water) June Leo the Lion (Fire) July Virgo the Virgin (Earth) August Libra the Scales (Air) September Scorpio the Scorpion (Water) October Sagittarius the Centaur (Fire) November Capricorn the Goat (Earth) December Follow the Boson Ball (2:30) This is an adaptation of the Higgs Boson (ATLAS Preliminary data) sonification by Domenico Vicinanza. On July 4, 2012, the Higgs boson, an elementary particle, was possibly discovered at CERN. Domenico Vicinanza, a professional composer and particle physicist, took the preliminary Higgs data points from the CERN data and assigned notes to each of the numbers. At 60 beats per minute, the musical piece consists of fifty-eight 16th notes and centers on the key of C Major. This adaptat

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Shinsen

"3NUTY" derived from Polish means "three notes'. 3NUTY consists of two flutists, Sayo Hanamori and Kazuyo Fujibayashi and a pianist, Kyoko Matsuyama. By combining the individual sounds of it's three artists, 3NUTY creates colorful harmonies that span a variety of genres yet remain rooted in classical music. 3NUTY brings energy, beauty, and music to concert halls, educational facilities, and elder care centers across Japan.

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Mozart Flute Qts-Paul Fried & Members of the Boston Symphony Orchestra

Paul Fried is widely regarded as one of America's foremost flutists. He began his studies with his father and at the age of 8 was granted a full scholorship to the Juilliard Preparatory School to study flute with Julius Baker. After a period of years he again studied with Baker at Juilliard, graduating with a BS Degree in 1970. In April of 1970 Fried successfully auditioned for the Boston Symphony then under William Steinberg, and was Assistant Principal Flutist of the Boston Symphony and later Solo Flutist of the Boston Pops under both Arthur Fiedler and John Williams. Fried has also been Co-Principal Flutist of the Pittsburgh Symphony and Solo Flute of the New York Chamber Symphony. In 1977 Fried was invited to perform as Solo Flutist with the Berlin Philharmonic under Herbert van Karajan. Paul Fried moved to Loa Angeles in 1985 and has been Solo Flutist and Piccilo for over 200 motion pictures, including Lethal Weapon - Die Hard, Hoffa, Anastasia and Cat in the Hat. In addition he is the Solo Flutist for the New West Symphony and Acting Principal Flutist of the California Philharmonic. Fried teaches flute privately in Los Angeles.

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20th Century Duos

About '20th Century Duos'... 'Bart Feller's inventively programmed CD, '20th-Century Duos,' is an homage to musical friendship. His bright tone, polished technique, and impeccable musicianship are well matched by seven superb colleagues in performances of warmth, wit and virtuosity.' Michael Parloff Principal Flute, Metropolitan Opera Orchestra Faculty, Manhattan School of Music 'This is a wonderful disc! Anyone who hears Bart Feller's liquid, organic playing will realize immediately that he is a complete master of the flute. It is inspiring to hear him play.' Ransom Wilson Flute professor, Yale University Artist-member, Chamber Music Society of Lincoln Center 'Even before the entire set was finished I knew that I was listening to two outstanding professionals. It's great to hear such vibrant and expressive flute playing and Rena Feller's clarinet work is equally impressive. I can't imagine my Duos played better!' Robert Muczynski, composer Bart Feller is Principal Flute of the New York City Opera and the New Jersey Symphony Orchestra. He has also appeared with the New York Philharmonic, Orpheus Chamber Orchestra, Bargemusic and the Chamber Music Society of Lincoln Center. Mr. Feller has appeared as concerto soloist with the Philadelphia Orchestra, St. Paul Chamber Orchestra, and the Jupiter Symphony. He is a graduate of the Curtis Institute of Music, where his teachers included Julius Baker and John Krell, he has also worked extensively with Keith Underwood. Among the summer festivals he has participated in are the Marlboro Music Festival, OK Mozart International Festival, Colorado College Chamber Music Festival, Napa Valley Chamber Music Festival, and the Grand Teton Music Festival. Mr. Feller is Professor of Flute at Rutgers University/Mason Gross School of the Arts, and teaches in the Pre-College Division of The Juilliard School. Artist Biographies ~ '20th Century Duos' Harpist Victoria Drake has been a concerto soloist with numerous orchestras and appears often as a solo recitalist and chamber musician. She performs with many orchestras in the New York area, including the American Symphony Orchestra, New York City Ballet, Orchestra of St. Luke's, Orpheus Chamber Orchestra and Philharmonia Virtuosi. She has participated at the Aspen, Bard, Cabrillo, Fontainebleau and Vermont Mozart festivals and L'Association des Rencontres Culturelles d'Orbec in France. She performed and recorded Die Meistersinger von Nurnberg with the Chicago Symphony Orchestra under Sir Georg Solti and Mozart's Concerto for Flute and Harp on period instruments with the Old Fairfield Academy. Ms. Drake has three solo recordings on the Well-Tempered Productions label: Harping on Bach, Scarlatti's Harp and Spanish Gold. Clarinetist Rena Feller is second clarinet with the Memphis Symphony Orchestra. She has taught at Rhodes College, Memphis and maintains an active private teaching studio. From 1991 to 1999 she was principal clarinetist with the Berkshire Opera. As a solo recitalist and chamber musician, Ms. Feller has premiered and recorded numerous contemporary compositions, including works by Don Freund and Stanley Friedman. A graduate of Oberlin College Conservatory of Music, Ms. Feller holds a master's degree from The Juilliard School. Mezzo-Soprano Theodora Hanslowe performs regularly in leading roles at the Metropolitan Opera, where she most recently appeared in the new production of Handel's Rodelinda. She is best known for her Rossini interpretations, which she has performed for San Francisco Opera, Teatro Colon in Buenos Aires, Washington Opera, Los Angeles Music Center, Opera de Monte Carlo, Staatsoper Dresden and the Met, among others. She has been a soloist with the symphony orchestras of Boston, San Francisco, Philadelphia, Cincinnati, Dallas and St. Louis, and appears frequently in chamber music festivals here and abroad. The New York Times recently acclaimed her "gorgeous singing with superb control" and the Stuttgarter Zeitung called her voice "a sound from another, more beautiful world." Bassoonist Kim Laskowski is associate principal bassoon with the New York Philharmonic. Before joining the Philharmonic, Ms. Laskowski was second bassoon with the New York City Ballet Orchestra and principal bassoon with the Mostly Mozart Festival Orchestra. She has performed with many New York City ensembles, including the Orchestra of St. Luke's, American Symphony Orchestra and Eos Orchestra. She received a master's degree from The Juilliard School, studied at the Conservatoire National Superieure de Paris on a Fulbright grant, and participated in the Tanglewood and Spoleto festivals. She can be heard on numerous television, radio and film scores, and holds two platinum records for CDs recorded with the rock group 10,000 Maniacs. She has performed and recorded several CDs with the noted chamber music ensemble Music Amici. Pianist Linda Mark is a staff accompanist at The Juilliard School. An active soloist, chamber musician and music coach throughout the United States and Europe, she has concertized with such leading flutists as Jeanne Baxtresser and her mentor Julius Baker, and has appeared at the Casals Festival, the Chateau de Fountainbleu and Weill Recital Hall at Carnegie Hall. Ms. Mark teaches collaborative performing classes for prominent music conferences, including the National Flute Association Convention. She won first prize in the Baldwin Piano Competition and has received two grand prizes in the International Recording Competition. Recently, she was invited by the Richard Tucker Foundation to perform for Luciano Pavarotti. She recorded solo piano works for the soundtrack of the film, Letter Without Words, and is the staff accompanist at The Julliard School. Flutist Kathleen Nester is second flute and piccolo with the New Jersey Symphony Orchestra. She also serves as acting assistant principal of the NJSO and is a member of the Stamford Symphony Orchestra, and plays with the Orchestra of St. Luke's and other New York area ensembles. Ms. Nester has been a featured concerto soloist with the New Jersey Symphony, Solisti New York and Bargemusic. She has had a long association with the new music ensemble Musicians' Accord. Ms. Nester attended the Manhattan School of Music and is on the faculty of New York University. She has recorded with a variety of artists, including Kathleen Battle, Claire Bloom, Brian Stokes Mitchell and Aaron Jay Kernis. Percussionist She-e Wu is assistant professor of music at Rutgers University. Ms. Wu has appeared as a solo artist at percussion festivals and conventions around the world. She has performed recitals and offered master classes at universities, colleges and conservatories, including the Curtis Institute of Music and the Manhattan School of Music. Ms. Wu's compositions K-PAX and Blue Identity were commissioned by the percussion ensemble of the Paris Conservatory-CNR and the Taipei International Percussion Convention, and have been performed in Japan, France, Taiwan and the United States. Her recording of the Eric Ewazen marimba concerto has been released on Resonator Records. Her solo marimba CD was released in the fall of 2005.

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