Stuck for ideas for that Special Flute Player? Try these: they are a little off the beaten track and are sure to delight.
Most of these classic numbers have a flute twist with the result that some of them are really quite tricky. Speedy Gonzales is fast and furious with a central section that uses major sevenths and flutter tongued chromatic scales, Pie in the Face Polka is a swirl of arpeggios and the Cameo for Flute ‘for James’ is quite a workout. There are some more peaceful moments too with Breakfast at Tiffany’s just having a flourish at the end. My personal favourite is the Medley with beautiful melodies arranged sensitively with a lovely decoration of Charade in the middle. The combination of Henry Mancini and James Galway is made in heaven.
This lovely book contains some truly beautiful music. The arias have all been tastefully transcribed to capture the essence of the original. A mixture of the happy and the melancholy, the melodies will transport you back in time, and it is really easy to feel as if you’re singing as you play.
This collection of 16 sight-reading test pieces set for the prestigious Prix de Concours at the Paris Conservatoire is full of delights. None of the the composers was a flute player, but each work is beautifully written to showcase the expressive qualities of the instrument with great insight and flair. Names such as Mouquet and Pierne will be familiar, but there are gems from lesser-known names, especially Adriene Barthe and Charles Colin, which will be well worth exploring. Not all were originally composed for flute and piano, so Clifford Benson has sensitively reconstructed piano parts where necessary. This is a lovely book which really enriches the flute repertoire – a must for all flute players.
The tragic circumstances of the death of Briccialdi’s daughter that surround the composition of these Romances is reflected in the simplicity of the writing and its beauty. There are no technical fireworks here. The fluid melodic lines convey sadness and heartbreak within an intimate framework, allowing the flute a full range of expressive possibilites. Paul Edmund-Davies has edited these sensitively, letting the beautiful music of Briccialdi speak for itself. He has also provided some historical background material and a glossary of expressive terms. These three short pieces are lovely – don’t miss them.
For all of us who hold the books of Marcel Moyse close to our hearts, especially Tone Development Through Interpretation, this is wonderful! Here are thirty of the melodies from the original, but now with all the extra information you need to try to play them well. Each aria has the words printed beneath the flute line and is set into the context of the operatic story. Perhaps the most valuable part, however, is Moyse’s own instruction manual on how to practise them. For him this was just a starting point: ‘Listen and compare. You can augment the value of this book by adding melodies that you love, that inspire you, and that seem likely to help you progress‘. This book will encourage everyone on that journey, whether you are a Moyse fan or new to his teaching. Essential!