Tag Archives: National Flute Association

NFA 2017

The National Flute Association – Index by Composer

  INDEX  
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30 Works Receive Newly Published Music Awards from National Flute Association

From August 10-13, Minneapolis will be overrun with some of the world’s best flutists as they come together for the 2017 National Flute Association Convention. Inside the convention, however, the cup will runneth over for Theodore Presser Company, Carl Fischer Music, and our affiliates as we bring home 30 Newly Published Music Awards. The awards recognize everything from solo method books to works for flute choir and we are proud to be represented in all categories.

Explore Full List of Winning Publications Below

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NFA 2017

The National Flute Association – 2017 Convention

  PERFORMANCE SCHEDULE HIGHLIGHTS  

Welcome to Theodore Presser Company’s online portal for everything related to the 2017 National Flute Association Convention. We are committed to making it easier for you to discover some of the best music in the world, which is why we’ve created this one-stop shop to help you peruse some of the music we’ll be featuring at this year’s convention. The schedule below highlights many of the events that feature our world class composers, but you can also peruse through our works by genre or index of composers. We hope you have a great time at the convention and would love to meet you at our booth.

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NFA 2017

The National Flute Association – Flute Choir

  FLUTE CHOIR  
ARRIVAL OF THE QUEEN OF SHEBA
For Flute Quartet or Ensemble
G.F. Handel (arr. Hans Martin Zill)

The ‘Arrival of the Queen of Sheba’ is a piece from Georg Friedrich Handel’s oratorio “Solomon”, written in 1748. The arrangements presented here can be performed both by a flute orchestra and a quartet including solo instruments. When using the quartet version, the orchestration “3 flutes and bass flute” should be given preference over the other instrumentations (“3 flutes and alto flute” or “4 flutes”), because it sounds better and does not interfere with Handel’s conduct of voices. Duration: 21’
AWAKENING
For Flute Choir and Percussion
John Frantzen

Awakening for flute choir and percussion is an exciting new work commissioned by the South Shore Conservatory Flute Symphony. Full of rhythmic vitality and color, it explores a wide range of flute techniques while at the same time remaining accessible to performers and audience alike. The composer wrote Awakening thinking of the evolvement of a new idea, exploring it and finally incorporating it into one’s life. It is scored for piccolo, 8 C flutes, alto, bass, and vibraphone/percussion. Duration: 6’
FIREWORKS
For Flute Orchestra
Daniel Dorff
To mark its 50th anniversary, the Flute Society of Washington commissioned Daniel Dorff to compose a celebratory work for large flute ensemble, to premiere en masse at its 2016 convention. Dorff responded with Fireworks, a 5-minute dazzler scored for 2 piccolos, 4 C flutes, 2 altos, 2 basses, and 1 contrabass. In describing performance of Fireworks, Dorff says: Real pyrotechnic fireworks typically shoot upward quickly and neatly, pop at the top, and then cascade downward slowly in a beautifully out-of-sync descent. Fireworks has many passages musically depicting this crisp upward whoosh exploding into downward sprinkles, often punctuated by a pop at the top.
FLUTES OF NATURE
For Flute Choir
Jonathan Cohen
A set of three outdoor scenes, Flutes of Nature describes the joy of childhood play, the quiet of a falling snow, and the frenetic romp of little pine squirrels. Flutes of Nature was written for the Pacific Flute Ensemble, for premiere at the 2016 National Flute Association convention.
HARMONY IN BLUE AND GOLD
For Three Flutes (1st doubles Piccolo) and Alto Flute
Eric Ewazen

Ewazen’s monumental flute quartet was composed for Femme Flutale and premiered at the 2008 Mid-Atlantic Flute Fair. Its four movements were inspired by James McNeill Whistler’s “Peacock Room” at the Smithsonian Institution’s Freer Gallery – a room full of paintings featuring peacocks, and interior design showcasing blue and white porcelain. Ewazen’s ornate textures and impressionist moods express this unique environment through his musical world of sounds and lines. Duration: 21’
“ICH HABE MEINE ZUVERSICHT”
FROM CANTATA BWV 188

For Flute Choir
J.S. Bach (arr. Emily Brown)

This tenor aria from Bach’s Cantata 188 is set for five-part flute choir with contrabass. The 2nd alto flute part plays the tenor solo and the solo oboe part has been given to the first flutes. Written in 1728, this work was performed only once during Bach’s lifetime and was lost until 1891 when its manuscript was reconstructed by Alfred Dorffel. Arranger Emily Brown is a student of Darlene Dugan and a member of the West Michigan Flute Orchestra.
Duration: 5’30″
INNES GLAS MOR
For Flute Choir
Lisa Lemay

“Innes Glas Mor” (“Mor” is Gaelic for “big”) is a three-movement, expanded version of Innes Glas (for Flute with optional Tin Whistle and Piano). This piece was inspired by the composer’s experiences while touring with the American Flute Orchestra in Ireland. Scored for tin whistle (optional), 4 C flutes (one doubling piccolo), alto flute, bass flute, and contrabass flute.
Duration: 5’30″
I PAUSED IN THE WOOD
For Flute Choir (Picc. 4Fl. A.Fl. B.Fl. Cb.Fl.(or B.Fl.))
Jonathan Cohen

Jonathan Cohen writes fun and fun-to-play flute choir music (Flutes and Vegetables, Tropical Flute Punch, Out of Their Rinds). In I Paused in the Wood, he takes a moment for a more reflective approach, a set of descriptive miniatures inspired by a walk in the woods. For advanced flute choirs. Duration: 8’
MALAGUEÑA
For Flutes Choir
Ernesto Lecuona (arr. Ann Cameron Pearce)

Known as the Cuban Gershwin, 20th century composer Ernesto Lecuona wrote “Malaguena” as the sixth and final movement of his Suite Andalucia for piano, referring to the southern Spanish port city of Malaga. A flamenco piece, Ann Cameron Pearce’s arrangement of Malaguena is a delightful study in contrasting tempi and styles, with impish themes, driving basslines, frivolous arpeggios and a dramatic flair. For advanced ensembles. Duration: 4’30″

A companion piece to Monochrome I, the slow-fast-slow of Monochrome I becomes fast-slow-fast in Monochrome V. The outer sections of this piece feature an interlocking figure that is taken through various chord changes, much in the manner of the first prelude in Bach’s Well-Tempered Clavier. In the middle section, a serene modal melody is echoed, extended, and briefly interrupted by a chorus of three piccolos. Duration: 8’30″
NYMPHS
For Flute Quartet
Gary Schocker

In three movements, this picturesque piece alternates in mood between dreamy and spritely, pensive and flirtatious.
Duration: 7’30″
OUT OF THEIR RINDS
For Flute Choir (Picc. 4Fl. A.Fl. B.Fl. Cb.Fl.(Opt.))
Jonathan Cohen

Cohen presents five descriptive and varied miniatures for flute choir, inspired by a major food group. The movements evoke a gigue, a “sinister dance,” a hornpipe, a Celtic air, and end with the “bouncy and nautical” Voyage of the Clementines. Without questioning the underlying inspiration, the cycle gives better flute choirs the opportunity for a fun night out! For advanced performers.
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NFA 2017

The National Flute Association – Solo

  SOLO  
CHACONNE FROM “PARTITA NO. 2 IN D MINOR”
For Solo Flute
J.S. Bach (transcribed by Denis Bouriakov & William Bennet)
Bouriakov appropriates the music of other instruments for the flute, thereby expanding the available repertoire. The Chaconne, originally for solo violin, is a favorite that he often performs and included on his first solo CD. Bouriakov performs his arrangement, made in conjunction with teacher and collaborator William Bennett, in a two-part YouTube presentation. For advanced flutists.
Schocker’s magical charm is on display in Down the Garden Path, a brief suite for solo flute commissioned as a young artist competition piece by the Texas Flute Society. Three descriptive movements include the elegant Behind That Shrub, the ominous Snake, and a beautifully cascading Waterfall. For intermediate to advanced flutists. Duration: 3′
PLAINSONG
For Solo Flute
Robert Aitken

As the title suggests, the basic inspiration for the piece comes from the melismatic style of medieval plainsong and the later organum effect of melodic lines moving in parallel fourths and fifths. This is created with the flute by singing and playing at the same time. These and several less common contemporary effects are woven into the texture of the piece in as natural a manner as possible. Duration: 6’30”
SYRINX
For Solo Flute
Claude Debussy

This piece for solo flute was composed in 1913 and published by Editions Jobert in 1927, nearly ten years after the death of Claude Debussy. It was originally called Flute de Pan and served as incidental music for Gabriel Mourey’s play Psyche. The title Syrinx comes from the name of a nymph favored by the god Pan who, through pursuing her, caused her death. Among the composer’s work, this funerary lament can be grouped with the numerous works inhabited by fauns. Duration: 3′
LE VENT A TRAVERS LES RUINES
For Solo Flute
Yuko Uebayashi
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