Paige's Published Flute Arrangements & Compositions
WINNER, NATIONAL FLUTE ASSOCIATION'S
NEWLY PUBLISHED MUSIC COMPETITION, 2012
Eventide Soliloquy, by Paige Dashner Long, is an original composition that features each instrument of the flute family in a musical soliloquy. The piece showcases the beautiful colors of a flute orchestra as well as each different type of flute, in a variety of musical styles. Scored for piccolo, concert flutes 1-4, alto flute, bass flute with optional contrabass flute, this new work is a great addition to flute choir repertoire and is published by Falls House Press.
The inspiration and dedication of this piece is in loving memory of Sean Callan MacDonald, the composer’s son, who died unexpectedly August, 2010. Eventide Soliloquy is Sean's life in song. Life begins during a swirling January snowstorm as the alto flutes play a beautiful, gentle melody. The bass flutes answer in response before the entire ensemble joins in the beginning theme. The opening theme consists of the musical letters of Sean's name (E- A perfect 4th interval) Next, you will hear a very happy, bright theme, as you imagine an energetic child, Sean, skipping along enjoying life. As this allegro theme, gently slows, the contrabass/bass flute plays a mournful melody, depicting the sadness of a young teenager being diagnosed with a difficult disease, type 1 diabetes. Eight bars later, the piccolo enters the dialogue of the contrabass/bass soliloquy with a beautiful obbligato melody on top of the contrabass. These are tears of a mother, crying for her son. But, we get on with life and make the most of the precious time we have together. Next enters a jazzy blues section where you can see Sean smile and picture him improvising on trombone. As the jazz slows, another beautiful melodic soliloquy, played by the concert flute and inspired by one of Sean’s favorite Mussorgsky themes, ends the work with a very calm and gentle melody, as Sean was such a gentle spirit.
Trained as a classical trombonist, music educator and jazz musician, Sean had a great sense of humor and a sparkling wit, with an amazing repertoire of original silly songs. He inspired hundreds of young musicians through his creative teaching approaches and lively performances. This piece celebrates Sean’s life, just as his presence here with us has touched our hearts. The Metropolitan Flute Orchestra, in summer residence at New England Conservatory in Boston, Massachusetts, premiered Eventide Soliloquy during the 10th anniversary season of the New England Conservatory Summer Metropolitan Flute Festival. On July 24, 2011, at 5:00pm, in New England Conservatory’s historic Jordan Hall, the Metropolitan Flute Orchestra performed the premiere of Eventide Soliloquy. This is so fitting as, Sean performed many concerts on the Jordan Hall stage during his brief life, as well attending his mother’s concerts in Jordan Hall.
The cover picture of the Falls House Press publication is a moon rise over Flagler Beach in Florida, one of Sean’s favorite beaches.
At the end of the piece, the piccolo has an option of playing the final B an octave lower. If choosing the higher B, one might try the following optional fingering, which is very stable and easy to control. LH 1,2,3 RH 1,2,3 No L thumb or R pinky. Optional beginning ends at the third beat of measure 8. The work can simply begin with the alto flute solo at the pick up to measure 9.
Symphony No 41 in C Major, K. 551, “Jupiter”
Wolfgang Amadeus Mozart
The history of Mozart’s magnificent Symphony No 41 in C Major, K. 551, “Jupiter” is shaded with mystery and speculation. Some believe that Mozart composed his final symphony, “Jupiter” during the summer of 1778, along with Symphonies No. 39 in Eb and 40 in G Minor. Others debate that this scenario has no proof and is highly unlikely. A major symphonic work during this time was typically commissioned by royalty or a wealthy patron. Some people believe that it would not have been possible for Mozart to compose not only one, but three major symphonies, in such a short time period. It is also known that Mozart was facing serious health and financial issues during this time frame. This further supports those who think that perhaps his 41st Symphony was composed much earlier and not completed until the summer of 1778. Even the origin of the nickname “Jupiter” is questioned. What is certain is that Mozart did not name this symphony “Jupiter.” Some claim that Haydn’s friend and impresario Johann Peter Salomon coined the nickname. Others say that it was Mozart’s son Xavier or German pianist Johann Baptist Cramer who was responsible.
Allegro vivace, the first movement of the Jupiter, is in sonata allegro form. After the tutti introduction of the main theme, with a lyrical, tentative melodic response, Mozart expanded and developed these musical ideas. Toward the end of the first movement, Mozart borrowed a melody from his aria “Un bacio di namo” K. 451 that he contributed for Pasquale Anfossi’s opera Le gelosie fortunate. This little aria melody twists and turns before the recapitulation of the beginning, majestic fanfare re-appears to complete the movement.
This arrangement is scored for Flutes 1-4, Alto Flute, Bass Flute, with optional Contrabass Flute. You will notice quite a few optional divisi sections in the Concert Flute parts, as well as the Alto Flute parts. It is possible to perform this arrangement with only one player per part, but the harmonic support for the Flute 3 melodic content will be missing. You will need two flutists on Flute 3 to best perform this arrangement. It is also nice if you have two players to cover the optional divisi on the Flute 4 and Alto Flute parts. Dedicated to the 2012 New England Conservatory Summer Metropolitan Flute Festival Orchestra, the Allegro vivace from Mozart’s 41st Symphony, “Jupiter” has a performance time of approximately 8 minutes without the optional repeat.
The cover photo is Salzburg, Austria, Mozart’s birthplace.
Sinfonia to Cantata No 29
J.S. Bach’s magnificent Sinfonia to Cantata No 29 “Wir danken dir Gott, wir danken dir” – “We thank you God; we thank you” was premiered in Leipzig, Germany to commemorate the inauguration of the Town Council, on Aug 27, 1731. Originally the work was composed as the first movement of the Violin Partita #3 in E, BWV 1006. Bach transferred this prelude to his partita for solo violin and created a joyous orchestral setting including 3 trumpets, two oboes, strings, continuo, timpani and solo organ to be used for the inauguration. Today, this ceremonial sinfonia is often performed by solo organ.
The piccolo parts of this flute orchestra arrangement closely follow how an organist would perform the music. An organ is comprised of several parts; the console, which holds the keyboards or manuals as well as the “stop” controls, and the pedalboard. A “stop” is a distinctive set of pipes or sounds generated by the organ. Organists select what type of sound they want to create by choosing different combinations of stops, called registrations. When an organist is performing this Bach Sinfonia on an instrument with more than one keyboard or manual, the organist will choose a bright, full registration on the main keyboard of the organ. This main keyboard is known are the Great manual. The organist will also select a softer registration on another manual, known as the Swell manual. When the piccolo is playing, this would be similar to an organist playing on the Great manual. When the piccolo has switched to concert flute, this would be similar to an organist playing on the Swell.
This arrangement has very interesting textural and dynamic contrast, even though there are just a few dynamic markings in the parts and score. In addition to the creative use of piccolo, the dynamics and textural contrasts are achieved through the thoughtful scoring of different flute parts playing in various registers of the flute range. You will also notice an alternating dialogue between some of the flute parts. For the exciting conclusion of the Sinfonia, play with as much energy and sound as musically possible. An organist might say “Pull out all the stops!”
This flute orchestra arrangement, premiered on July 26, 2009 by the New England Conservatory Summer Metropolitan Flute Festival Orchestra in New England Conservatory’s renowned Jordan Hall, is scored for Piccolo, Flute 1, Flute 2, Flute 3, Alto Flute and Bass Flute, with optional Contrabass Flute. Originally scored for chamber orchestra in D Major, Paige has arranged this work in C Major, showcasing the very bottom of the flute range.
Cover photo is a bronze statue of JS Bach, standing outside of St. Thomas Church in Leipzig, Germany. The Sinfonia to Cantata No 29 was premiered in Leipzig, and Bach served as cantor and choir master at St. Thomas Church.
Hymnus, Opus 57
German cellist and composer Julius Klengel’s Hymnus, Opus 57 is a lush, chordal spiritual, dedicated to the memory of Austro-Hungarian conductor Artur Nikisch.
Born in Leipzig, Klengel began playing in orchestras at the young age of 15 and was appointed principal cellist of the Leipzig Gewandhaus Orchestra at the age of 22. After touring in Europe and Russia, he became a well known and accomplished soloist. Klengel was a professor at the Leipzig Conservatory and composed volumes of works for cello, including 4 cello concertos, 2 double cello concertos, cello quartets, 1 cello sonata, as well as various etudes and caprices. It is also interesting that Klengel’s father was a friend of Felix Mendelssohn.
Originally scored for 12 cellos, this setting of Hymnus has very flexible instrumentation possibilities. This work may be performed by an ensemble of all concert flutes, or all low flutes including an ensemble comprised of only alto flutes, only bass flutes or any combination of instrumentation. Included for each part is a setting in concert A for instruments in C, and on the reverse side of the page for each part, you will find a setting in concert D for instruments in G. This beautiful work is published by Falls House Press.
With careful attention to the musical structure of this work, assigning parts is very interesting, fun and flexible. You will notice three groupings of parts, as well as full sections with all parts playing. After a full introduction from measures one through eight, Flutes 5-8 play a beautiful theme that is passed onto Flutes 1-5 at letter A. Flutes 9-12 assist in the connective passage from measures twenty five through thirty two. You will find another connective passage from Flutes 6-12, beginning at measure forty nine, before the entire ensemble joins in at letter B.
If using a mixed ensemble of concert flutes, alto flutes, bass flutes and/or contra flutes, it is best to assign the alto, bass and contra flutes to the lower voices in parts 9-12. It is also fine to keep all of the lower flutes on parts 11 and 12 or simply part 12. Flute 5 has a unique role as, at times, flute 5 is the top voice in a section (measures nine through twenty five) and then flips to become the lower voice of a passage (measures thirty four through forty nine).
Another nice possibility, if using all instruments in C (all concert flutes or concert flutes and bass flutes) is to have the C instruments read the instrument in G parts, playing Hymnus in concert D. Obviously, this is only possible if you are not using alto flutes. It is also fine to have an ensemble of all instruments in C play the concert A setting. See which setting you prefer. The concert A setting will be brighter, while the concert D setting will be darker. If you have an ensemble of alto flutes, you can try the same. If your ensemble is mixed, then you will need to play Hymnus in concert A.
If you prefer melodic flutes playing in the middle register of the flute range rather than the upper register, please use the downloadable, alternate lowered flute parts for Flute 1, Flute 2 and Flute 5. Alternate lowered parts may be found at the end of these program notes or on the Falls House Press website.
In Flute 1, Flute 2, Flute 3 and Flute 5, you will find cued notes for the connective passages. Depending on the size and instrumentation of your ensemble, these cued notes can be very helpful. The little connective passages look innocent, but can be quite tricky to play musically. Shaping the musical phrase, so that the higher notes are more delicate than the lower notes, help these phrases come to life. Within the connective passages, there are some beautiful harmonic tensions that are resolved at the end of the phrases. (Connective passages can be found at measures twenty five through thirty one and measures forty nine through fifty five.)
Another unique possibility lies within Flutes 8, 9, 10, 11, and 12. You will notice optional pizzicato. When you see the marking pizz, you may choose to use tongue pizzicato; when you see the marking arco, return to normal tonguing. This quasi-percussion effect possible on the flute is produced by fingering the notated pitch and producing a hard "T" with the tongue, while keeping your throat closed. Some flutists prefer to produce this sound with a forcible opening of the lips, or "lip pizzicato”. I find it very helpful to think of the syllable “toop” for tongue pizzicato. For fun, search the internet for “flute tongue pizzicato” and quite a few things pop up, including technical information as well as video. Strauss’s Pizzicato Polka is a great piece for this technique.
Alto flutes might be surprised to see an optional low B. Alto flutists do not need a low B to play this arrangement. Although rather unusual, some alto flutes have a B foot. For those lucky alto flutists, enjoy the rare opportunity to play a few low B’s.
The Florida Flute Orchestra premiered this setting of Klengel’s Hymnus during the 2012 Florida Flute Convention.
Alternative Klengel Hymnus parts (PDF):
Recordings of Klengel Hymnus:
Metropolitan Flute Orchestra on tour in Bratislava, Slovakia
This has concert flutes, with alto, bass and contraflutes. For this, I used the alternate lowered 5th flute part. I also had two people assigned to Flute 1. One person played the part as published, the other person played the alternate lowered Flute 1 part.
NFA Vegas Low Flutes Concert
This ensemble is comprised of alto flutes, bass flutes, contrabass flutes in C, F and G, and sub contrabass flutes in G and C as performed during the 40 BeLow Concert during the NFA Convention in Las Vegas; directed by Paige Dashner Long.
Respighi’s Passo mezzo e Mascherada
From Ancient Airs and Dances Suite No 1
Arranged for flute ensemble by Paige Dashner Long
Respighi’s Mascherada from Ancient Airs and Dances Suite No 1 is now available for flute ensemble, published by Falls House Press. The arrangement, premiered on July 25, 2010 by the New England Conservatory Summer Metropolitan Flute Festival Orchestra in New England Conservatory’s renowned Jordan Hall, is scored for Flute 1, Flute 2, Flute 3, Flute 4, Flute 5, Alto Flute and Bass Flute, with optional Contrabass Flute.
Ottorino Respighi (Bologna 1879- Rome 1936) was fascinated with early lute music, studying in particular the transcribed works of Oscar Chilesotti (1848-1916). Chilesotti transcribed several sixteenth and seventeenth century dances and airs for the lute. Respighi, a scholar of musical antiquity, choose several of these lovely ancient airs and dances, making three suites, each comprised of four movements. Using modern harmonies and orchestration, Respighi beautifully crafted these suites for chamber orchestra, each receiving enthusiastic response from audience and musicians. With a simple melodic line and rich orchestration, Respighi’s unique talent and skill are showcased in these spirited compositions.
Passo mezzo e Mascherada from Ancient Airs and Dances Suite No 1 is the fourth movement of his delightful first suite. You will notice two contrasting sections: a fast paced passo mezzo and a light Italian 16th century secular choral song (villanella) or mascherada, which was typically sung at masked balls.
With careful attention to dynamic contrast, articulation and tempi changes, Passo mezzo e Mascherada beautifully showcases the different colors of a flute ensemble.
Welcome to the masquerade ball!
MARTIN’S MIXING THE MALT
Arranged for flute ensemble by Paige Dashner Long
Peter Martin’s energetic Mixing the Malt is now available for expandable flute ensemble. Arranged by internationally known flutist Paige Dashner Long, this work can be performed by a minimum of flute quartet (Flute 1, Flute 2, Flute 3, and C alternate alto flute/alto flute) or expanded to any number of flutes up to full flute orchestration of piccolo, Flute 1, Flute 2, Flute 3, Alto Flute, Bass Flute with optional contrabass flute and optional percussion.
Parts for Flute 1, Flute 2 and Flute 3 are identical in both the quartet and expanded flute orchestration, but the C alternate alto flute/alto flute part(s) in the quartet setting is slightly edited for optimum performance by flute quartet. The scores also reflect these minor differences. Be sure to select the score and C alternate alto flute/alto flute part that you prefer. Conductors who are using percussion may prefer to use a score without percussion for less page turns. Scores are available for flute quartet (no percussion), expanded flute orchestra and expanded flute orchestra with percussion.
Optional percussion parts include: Tenor Drum or Bodhran (traditional Irish Drum), Triangle, Woodblock, and Timpani. Select them all or just choose those that you prefer. It’s also fun to add Penny Whistle to the Flute 1 part.
Dedicated to the Metropolitan Flute Orchestra, in summer residence at New England Conservatory in Boston, this ensemble, directed by Paige, is pictured here on tour in Ireland. The Metropolitan Flute Orchestra performed Martin’s Mixing the Malt during their concert as part of the National Flute Association Convention in New York City on Friday, August 14, 2009.
Contact Paige if you would like to purchase a copy of Mixing the Malt. Remember to specify the desired score and C alternate alto flute / alto flute part that goes with the score you’ve selected. Score choices include: Full Flute Orchestration with percussion; Full Flute Orchestration without percussion; or Flute Quartet Score. Remember that the C alternate alto flute part /alto flute part is slightly different for the quartet. If you have any questions, don’t hesitate to e-mail Paige. Make reference to flute in the subject line of the e-mail.