• W.A. Mozart – Concerto in D Major for flute (K. 314), mvt. 2

Mozart has 2 concertos for flute – one in G Major and this one, in D Major (which is really just a re-voicing of the oboe concerto in C). This Barenreiter edition is great for analysis and understand the solo flute’s role – it includes the principal flute part, piano score, suggested cadenzas, and a reference score.

  • Bach – Sonata in E Major (BWV 1035)

The authorship of this sonata is still being debated by music historians – many of the sonatas initially attributed to JS Bach are now thought to be written (at least in majority) by CPE Bach. This is the Barenreiter edition follows the original articulation of the manuscript – leaving out “obvious” patterns that the Bachs (whichever composed this Sonata in E) expected the perform to intuitively know. As a result, careful listening and score analysis is essential for creating articulation patterns that closely follow the style of this piece.

  • Rzewski – Coming Together (orchestra)

Frederick Rzewski was an American composer. In 1971, returned to New York from his period in Italy. That was an eventful year in a tumultuous era, and in September, a riot broke out at the Attica Correctional Facility in upstate New York, demanding improved health care, sanitation, and food, as well as an end to beatings. Coming Together uses text from a letter from one of the inmates – the text is set (a few words per bar) over a running pentatonic bass line. The letter reads as follows:

I think the combination of age and the greater coming together is responsible for the speed of the passing time. it’s six months now and i can tell you truthfully few periods in my life have passed so quickly. i am in excellent physical and emotional health. there are doubtless subtle surprises ahead but i feel secure and ready. As lovers will contrast their emotions in times of crisis, so am i dealing with my environment. in the indifferent brutality, incessant noise, the experimental chemistry of food, the ravings of lost hysterical men, i can act with clarity and meaning. i am deliberate – sometimes even calculating – seldom employing histrionics except as a test of the reactions of others. i read much, exercise, talk to guards and inmates, feeling for the inevitable direction of my life.

  • Francis Poulenc – Sonata for Flute and Piano

The challenge with this piece has been playing what’s on the page versus playing in a stylized manner (as many recordings of this piece often exemplify). The technical elements such as the sept-tuplets, 32nd note pickups, or double tonguing in the 1st movement require a practice approach that will make the end result sound seamless or effortless.


  • Sergei Prokofiev – Sonata in D op. 94

This edition includes both the violin transcription along with the flute line – being aware that there are variations (and other editions of the piece) was really important when studying and listening to the piece before practicing. The infamous D7s are just one of the challenges this piece presents where the goal is for them to blend into the ascending arpeggio pattern.


  • Katherine Hoover – Kokopeli for solo flute

With no indicated meter and no accompaniment the challenge with this piece is maintaining rhythmic values. As well as keeping an active ear for intonation, especially on repeated pitches. And finally keeping a sharp eye on the accidentals since they do not carry through the octave. Despite these initial challenges, the phrasing and overall mood of the piece drive the player to overcome these visual hurdles.


  • W.A. Mozart – Concerto in D Major for flute (K. 314)

Mozart has 2 concertos for flute – one in G Major and this one, in D Major (which is really just a re-voicing of the oboe concerto in C). This Barenreiter edition is great for analysis and understand the solo flute’s role – it includes the principal flute part, piano score, suggested cadenzas, and a reference score.


What is on your stand this month?