Category Archives: Hidden Gems

Trubcher Publishing

Publisher Profile: Trübcher Publishing

Roz Trübger, founder of Trübcher Publishing, is very enterprising and clearly loves the flute. She has an impressive catalogue of music to her credit with a wide spread of titles. Educational resources, obscure repertoire and ensemble music are her three main niches, and every book has either an accompanying CD or an online audio clip to help you along.

A Listers’ is a highly respected series which aims to facilitate the learning process of core repertoire. All the pieces come with a standard flute part edited by Trübger herself, a piano score, a second flute part and a CD with a 2-speed playalong. Teachers who have limited keyboard skills obviously find this format invaluable, but there is also the advantage of being able to play these pieces as flute duets with or without accompaniment. Meanwhile, the dual speed CD backing tracks help with home practice.

A-Listers features important works such as sonatas by Bach and Handel, concertos by Mozart, Vivaldi, Quantz and Gluck as well as single pieces such as the Fauré Sicilienne, all of which are vital in the building of a strong flute foundation. This collection is a good way to teach this mainstream repertoire.

Trübger has unearthed some real gems for her ‘Forgotten Music‘ series. Again, each title is fully supported by an audio resource, which although computer generated, does give you confidence that you are in the right area. Little-known composers such as Macfarren and Graeff might entice you, and there are other gems that time has forgotten. The Romance in A by the English amateur flute player James Mathews is a wonderful piece, written in 1868 in a Romantic style and beautifully straightforward to play. It’s worth the money for the front cover alone, as the photo of Mathews with his extraordinary gold flute is quite something! The highlight of the series so far however, has to be the Romance by Alfred Bruneau. Written in about 1884, he has accompanied his sumptuous melody with a flowing accompaniment. Pure French pleasure!

As you might expect, Trübger’s arrangements for flute ensemble all work extremely well. She really knows how to handle the spacing of the instruments, which is so important to the success of any transcription. Her choice of repertoire is intelligent, with a wide range of styles to choose from. You could start with the Widor Toccata for four piccolos – not an obvious choice of instrumentation perhaps, but one that is highly effective in the right hands! The famous semiquaver theme is evenly distributed between all four parts encouraging listening skills to develop both accuracy and intonation. The audio clips are again electronic and the speeds chosen are deliberately quite slow. Here, this results in quite a pretty sounding performance but acoustically the piece offers a great deal in terms of skill and stamina, not to mention entertainment!

Von Suppe’s Pique Dame Overture is another excellent arrangement. This is for 6 flutes and the addition of piccolo, alto and bass, together with optional cymbals, gives added scope for textural variety. The style is easy to access and the writing straightforward, with just the right amount of independence in the parts. Both the piccolo and bass flute are less busy than the rest which is good both technically and aurally. The G major key and familiar rhythms also help here, and although 6 parts can seem daunting at first, the overriding aim is to give confidence to developing players as they tackle more substantial works.

If you are feeling yet more adventurous try Six Sweets by Marin Rabadan for 5 flutes and alto flute. Don’t let the title here lull you into a false sense of security: this should be played at helter-skelter speed with all six instruments cascading around the opening section! The central blues is more restrained and the closing vivo has great rhythmic drive. The style is jazz, the ensemble needs to be very tight. It’s a fantastic workout!

Whatever you choose to play from this lovely and very individual publisher, satisfaction is almost certainly guaranteed!

Building a Flute Library: Exploring Edition Svitzer

Edition Svitzer is a relative newcomer to the world of flute publishing. Set up in 2001, the flute catalogue is under the experienced eye of Henrik Svitzer, one of the two brothers running this family firm together with their father. All three have worked professionally as musicians, and Henrik studied with Marcel Moyse in the US before holding the position of principal flute in the Royal Danish Orchestra for 21 years. He is now professor at the Royal Danish Conservatory of Music, and his experience in the flute world has proven to be a fantastic basis on which to produce a beautifully produced, intelligently sourced flute catalogue.

Nielsen Flute ConcertoAs this is a Danish company, the music of Nielsen is well represented in the Svitzer catalogue. The famous Flute Concerto is edited by András Adorján, and is probably the best version on the market at the moment. Its unique selling point is that it includes two copies of the solo flute part: the first version has all the important orchestral writing cued on a separate stave, whilst the second version has the orchestral writing arranged for a second flute. This has the obvious advantage of being able to get to know the score completely before standing in front of the orchestra. Care has been taken to highlight the important orchestral lines in both harmony parts and in the piano reduction, which has been made a little less exacting. Altogether this is a very impressive edition and well worth investigating.

Nielsen Concerto - Score Sample

Hot off the press are two brand new volumes of Orchestral Excerpts arranged for 4 flutes. All the major flute solos are here, and although some of the extracts are short, in most cases they cover exactly the bars that might be set for a first flute audition. Flutes 2, 3 and 4 are arranged to cover the accompaniments and to put the solo into an orchestral context. For example, ‘Aus Liebe will mein Heiland sterben’ from Bach’s St Matthew Passion from Volume 1 has simply the opening phrase accompanied by an arrangement of the oboe da caccia accompaniment. This graphically illustrates just how this beautiful solo works, and will transform a student’s view of it much more effectively than just looking at the score. This aria also appears in Volume 2 in a longer form, where the first flute takes the vocal line leaving the solo to the second flute – another way of all players really getting inside the music. Arias from Mozart’s Magic Flute are also treated in this way, while the enigmatic extract from Mahler’s Ninth Symphony is brought to life by both playing the complex string writing underneath the solo and hearing how that affects performance. These books are an exciting and fresh way to bring these taxing solos to life and if the quartet is good, everyone can have a go!

Another interesting aspect of the Svitzer catalogue is the music for flute groups. An adaptation of Kuhlau’s Piano Sonatina in G major for 10 flutes (piccolo, 7 C flutes and 2 alto flutes) is already proving popular. There is a particular challenge in ensemble playing with such large numbers, and success is often down to the quality of the arrangement. Here it is outstanding. The detail of the piano writing is conveyed by the first 7 parts, with the remaining flute and alto flutes providing a strong bass line. This means that the texture is intricate but there is always something strong to hang on to, especially if you are playing one of the inner parts. The result is quite delightful and will be enjoyed by audiences and performers alike.

This is also true of Ravel’s ‘Le Tombeau de Couperin’ which has been transcribed here by Erik Norby for the so-called ‘Kuhlau Quartet’ of 2 flutes (one doubling piccolo), alto flute and bass flute. Norby was a great orchestrator and he has managed to convey nearly all of the vibrancy and colour of Ravel’s score – quite an achievement! You will need four good players for this as all the parts represent a challenge, especially for the alto and bass. This piece really works though and it’s great for flute players to have access to such a high quality arrangement.

The unusual repertoire for flute and piano listed is also intriguing. Composers such as Poznansky, Stankovych, Graesvold and Weyse are featured together with the slightly more familiar works of Morlacchi and Schneider. Svitzer’s own book of Flute Exercises is also worth a look. Aimed at the professional player with very little time to practice, he has gathered together all the essential material that he has found useful over the course of his illustrious career and set it out in a logical order with advice on how to manage it all. His preface states the ‘the exercises are also made for the love of flute playing’ – a sentiment that could be described to this entire catalogue!

Hidden Gems: Christmas Music for Flute Choir

There is now so much choice of Christmas music available for flute choirs that it’s difficult to know where to start. In this post I’ve selected some of my favourites which I can really recommend.

Carol settings abound and the choice can be alarming. The best policy is to pick your carol, and then stick to those arrangers that are proven or whose pieces you have previously enjoyed. My personal favourites are Amy Rice Young, Ann Cameron Pearce and Ricky Lombardo, and all of them have contributed music to which you can return year after year.

In The Bleak MidwinterFor example, the Pearce version of ‘In the Bleak Midwinter’ atmospherically shares the tune, accompaniment and descant evenly between the parts and uses the lower instruments to great effect. This is also true of her arrangement of the ‘Wexford’ carol.

‘Wassailing’ by Rice-Young has dances from Somerset and Gloucestershire as well as the traditional one from Yorkshire – this is a simple arrangement, even if it is in A major. Her ‘First Nowell’ (sic) is bright and breezy as is the pairing of ‘Good King Wenceslas’ and ‘Sing We Now of Christmas’.

Lombardo’s ‘Trilogy of Carols’ utilises the versatile expandable format. It only takes four players to perform this, but there are actually 8 parts, including alto and bass flute options plus parts for string bass and percussion.

You might also like to investigate the ‘Peace Collection’ by Paul Horn. The textures here are simpler, making them ideal for the less experienced group. I particularly like the ‘Carol of the Bells’ from Volume 3 for the way in which it builds and subsides – most effective.

Foreign carols can often provide a good programme contrast. Take the ‘French Nativity Suite’, 3 carols set by Kelly Via. ‘Il est Ne’ is well-known and surprisingly has some swing-rhythm in the accompaniment, but the less familiar 14th century carol from Provence ‘Bring a Torch, Jeanette Isabella’ is handled simply. Pat-A-Pan is more of a challenge – upbeat with a 5/8 central section and complex ensemble writing which is as enjoyable to play as it is to listen to. Meanwhile, the ‘Scandinavian Suites’, again put together sensitively by Rice-Young are just lovely tunes which completely illustrate the countries from which they originate. ‘Two Preludes for December’ by Claudia Bissett will also delight audiences. Scheidt and Praetorius provide the music here and she arranges for double flute choir skilfully.

Sample Music from Two Preludes for December

You could take the humorous option. Merging Christmas songs with traditional carols is a favoured route with surprisingly good results! ‘The 12 Days of Christmas’ (Rice-Young again!), punctuates the main theme with carol snippets. Great fun could be had here with some audience participation. Darlene Dugan’s ‘A Patchwork Christmas’ stitches together various carols to give us ‘Noel in a Manger’, O Song of Joy (Jesu, Joy and O Tannebaum) and ‘Joy on Deck’. On a slightly different tack, Lombardo’s ‘Santa’s Symphony’ (again in the expandable format) combines carols with popular classics. Watch out for Eine Kleine, 1812 Overture, The Nutcracker and even some Brahms! This is such fun and perfect for most Christmas occasions – a real winner. Jingle Bell Prism, another gem from Ann Cameron Pearce, is a classic. Here she gives this song the real treatment – 7 different styles from a 16th century Venetian Madrigal to Boogie-Woogie and Beach Rock. It works
perfectly well with C flutes only but will take a bit of practice. Oh so worth it though!

And finally – what about a Christmas piece that is completely original? Kathleen Mayne’s ‘Christmas Overture’ tells the story of the Nativity. The beautiful opening melody in F minor sets the scene of the ‘Cold, Still Bethlehem Night’ before the music becomes more rhythmic for ‘The Visit from the Magi’. Playful music depicts ‘The Curious Stable Animals’ before the lilting ‘Mother Mary’s Lullaby’ builds to an eventual grandioso conclusion. Lasting 6 minutes this is a substantial piece that will reward the work needed to perform it well and enhance any Christmas concert.

Composer Profile: Amanda Jane Fox

Amanda Jane FoxI absolutely love the music of Amanda Fox. She is a wonderful combination of classically trained flute player and natural jazz pianist. She has an amazing way of performing her own music, her rhythmic understanding being instinctively different from the ordinary musician. She once described to me an astonishing list of styles that she has drawn from. These included Bach, Rachmaninoff, Elton John, Carol King, Debussy, Chaminade and several jazz musicians – very much a mixed bag. She is also quite a character! She never stops talking, and is infectiously enthusiastic about all she does.

Amanda’s writing for the flute is impressive. Take “Infinity” for example. This is a big work and a great test of stamina for all those not blessed with her natural capacity for long phrases! She has an undoubted talent for melody, and all her flute music has gorgeous tunes. The opening of “Infinity” is stunningly beautiful – the kind of tune that you could sing walking down the street and feel happier for having done so. She also has a formidable flute technique, so plenty of notes woven around the jazz-influenced cross-rhythms add to the challenge. It’s a real crowd pleaser!

If you want something a little quieter, “In the Clouds” is my favorite of Amanda’s slower pieces. Dedicated to her father and composed shortly after his death, it’s a very moving piece with an abundance of yet-more–beautiful melodic themes accompanied by strong romantic harmonies. Or you could try “Reflections,” with its tranquil melodies and subtle, gentle colouring.

Her most recent piece is “Levitation,” which was written for me to play at last year’s NFA Convention in California. It starts with another one of her sensual melodies, and her special blend of harmony and rhythm conjures up all kinds of swirling emotions. If you look closely, you can certainly see influences of Gaubert and Poulenc, but it is really her natural jazz/funky style that shines through. Frequent changes of both key and tempo take place as, section by section, it all seamlessly flows like a journey to end triumphantly on a high. “Levitation” is an uplifting piece celebrating Amanda’s fight to recover from her constant battle with ME.

Amanda can play and sing all her own music, and a visit to her website will unearth gems of popular songs that she performs in her own inimitable way. Her latest mp3 download available there is “Destiny”, yet another example of wonderful writing for the flute. The tune is so lovely that you just don’t want to end!

So if you hadn’t heard of Amanda Fox before, perhaps now is the time to discover her, and indulge yourself in beautiful music!

Amanda Jane Fox’s music is available at Just Flutes: Infinity | Reflections | In The Clouds | Levitation.