Woodwind - Reicha, Anton - York, Barbara - Jones, Roger - Flute - 4

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  1. Adagio for English Horn

    Composer: Reicha, Anton Arranger: Reicha, Anton
    Instrumentation: Quintet Instruments: Bassoon, Clarinet, Flute, French Horn, Oboe
    Genre: Classical
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    As low as $18.00

  2. Dauphin Island Suite

    Composer: Jones, Roger
    Instrumentation: Quartet Instruments: Flute
    Genre: Contemporary

    Recommended for a college level ensemble, this is sure to be a nice challenge for any group.

    3 Flutes and 1 Alto Flute

    I. BAREFOOT ON THE BEACH (a march)


    III. DOLPHIN DANCE (a bourree)

    IV. WAVE PLAY (a rondo)

    Dauphin Island is a barrier island on the gulf coast of Alabama.  It remains a quiet community populated by fishermen, locals, teachers and students at the Sea Lab facility, without the plastic gristle of so many near-by tourist spots.  People do visit the town and old Fort Gains on the east end of the edge of Mobile Bay.

    The suite, dedicated to my wife who loves the Gulf, was written for Dr. Sandra Lunte (who shared that interest) and the flute ensemble at the Northeast Louisiana University in Monroe, LA.
    The fourth part was written for alto flute, but may be played, except for the second movement, on the C flute.
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  3. Sonata for Flute

    Composer: York, Barbara
    Instrumentation: Solo and Piano Instruments: Flute, Piano
    Genre: Contemporary

    with Piano

    This piece was written for Dr. Catherine (Kate) Bergman from Emporia State University KS.  The biggest problem I had in writing this piece was that Kate is so NICE that there seemed to be almost nothing to write about! So I decided to write a piece about being “nice” and what it is like to be really “nice”, especially for a flute player, the flute being such a “nice” instrument in the first place.

    The first two movements, “A Cheerful Heart” and “Kindness” are, I think, fairly obvious, but I decided to do something different in the third movement and allow Kate (and our player) to have a little temper tantrum and lose her prevalent composure. In the third movement we hear the teacher instructing patiently and persistently yet growing, over time, increasingly impatient and frustrated. By the end she has lost much of her “niceness” and stamping her foot and has a minor fit of temper, still a large step for someone who started out where she did at the beginning of the piece.

    I always enjoy, even in my most serious or traditional music, having a little sense of humor lest we all take ourselves too seriously.

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