A collection of duets which exemplifies a variety of distinctive styles. Includes notes on Baroque performance practice, including French `notes inegales'. Contains excerpts from `The Modern Flute Professor' by Meline; `Sonatas I, IV and VI' by Loeillet; excerpts from `Twelve Duos for Two Flutes, Op. 57' by Devienne; and `Sonatas II and III' from Six Sonatas or Duets for Two GermanFlutes or Violins, Op. 2 by Telemann.
Revised 3rd edition. An annotated list of solos, graded method materials, reference reading, flute ensembles, music for alto flute, piccolo and bass flute. Over 3,500 entries, representing more than 1,700 composers and authors. Used throughout the world by flutists, artists, teachers, libraries and music dealers.
(Piano Vocal). This sheet music features an arrangement for piano and voice with guitar chord frames, with the melody presented in the right hand of the piano part as well as in the vocal line. KEY: A flat
Born and schooled in Germany, Kuhlau fled to Copenhagen when Hamburg was invaded by Napoleon's army. Although best known for his piano sonatas and sonatinas, he first composed and published vocal works and pieces for flute and piano. Kuhlau was not actually able to play the flute, but with his musical abilities and the help of a friend who played the flute in the royal orchestra, he wrote flute music that was among his finest instrumental compositions. A contemporary and acquaintance of Beethoven, Kuhlau was one of the most important Danish composers of the late Classical and early Romantic periods. Kalmus Editions are primarily reprints of Urtext Editions, reasonably priced and readily available. They are a must for students, teachers, and performers.
The renaissance flute, with its rich history, stunning repertoire, and mellow tone, has attracted a significant following among flutists, whether they specialize in modern flute or historical instruments. Yet, actually delving into the study of renaissance flute has proven a challenge - there exists a confusing array of editions of renaissance music, specialized (and often expensive) facsimiles of manuscripts and early prints, and in unfamiliar notations, while at the same time there is a dearth of resources for beginners. Confronting this challenge with the first ever practitioners' handbook for renaissance flute, Kate Clark and Amanda Markwick offer flutists of all levels a clear and accessible introduction to the world and repertoire of the instrument. In The Renaissance Flute: A Contemporary Guide, Clark and Markwick cover all aspects, from practicalities such as buying and maintaining the instrument, to actual music for solo and group performance, to theory designed to improve the understanding and playing of renaissance polyphony. This approach enables students to immerse themselves at their own pace and build on their skills with each chapter. With nearly 40 full pages of exercises, and a companion website with recorded examples and filmed instructions from the authors, The Renaissance Flute provides professionals and newcomers alike a new entryway into the world and practice of renaissance music.
