Theobald Boehm: Grande Polonaise for flute and piano, Op 16 – Play streams in full or download MP3 from Classical Archives (), the. Work Title, Polonaise for Flute and Piano, Op Alternative. Title, Grande Polonaise pour la Flûte avec accompagnement de Pianoforte. Œuvre Composer. Sheet Music for Flute & Piano (A-B) by Boehm, T, Grand Polonaise Op. 16, Published: Gerard Billaudot [GB], Editor: Heriche, Robert, Not Applicable.

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Theobald Boehm – Grande Polonaise, Op. And the instrument was indeed known as this. No maker of oboes, clarinets or bassoons had been honoured in this way.

Grande Polonaise for flute and piano, Op 16

That Boehm dedicated the Grande Polonaise to ‘his friend’ Camus reflects the bond of friendship that had been formed through various meetings in Paris, but equally reflects Camus’ great capacities as a player. Camus is a very popular player of the flute in Paris [ Opus 16[a] appeared inpublished by Falter in Munich, Opus 16[b] with Aulangnier in Paris around The introduction is almost identical in the two versions.

Additionally, the Presto covers around a dozen bars less from b.

There are also differences between the two versions with regard to articulations. Raymond Meylan mentioned that the alterations and the new modulations in Op. Stettmeyer was originally a flutist in Hechingen, and was to become a member of the court orchestra Hoforchester in Munich, a position he held from to Theobald Boehm also performed this work himself in in Munich at a charity concert for the poor.

The charming, cosy, ‘Du, du liegst mir im Herzen’ nestled in each listening human soul”. The German fljte anthem ‘Liebe und Sehnsucht’ forms the basis of this introduction, theme and variations.

It is probably the most played and most successful of Boehm’s eight variation works. The introductions are already different in character, due partly, of course, to the lyrics, but also because of the virtuoso traditions with which Boehm had in the meantime become acquainted. In Munich he had played during three performances by Paganini in and from all his cultural tours, which included Austria, Northern Italy, England and France, he became familiar granr the ingredients to be used for a successful performance.

While Boehm’s variations radiate especially his enthusiasm for virtuosity and brilliance, we encounter another concept in Schubert’s variations: In Boehm’s variations the piano always has an accompanying role; in a few variations Schubert allows the flute to accompany the piano. Countless other differences teach us more about both works.

It is assumed that the inspiration for this work was the World Exhibition held in in Paris, at which cultures from around the world had a pavilion. Numerous composers felt attracted to the exotic sounds presented there by musicians from the Middle and Far East. Nihavend, the second movement of the Suite Persane, describes a Persian town. He made his debut as bassoonist in the Hofkapel in The Hague, later to become the conductor of pokonaise Orchestra of the Paleis voor Volksvlijt on the Frederiksplein in Amsterdam.

This huge cultural palace, that burned down in and made way for the present Dutch Bank DNBwas for a long time, along with Felix Meritus, Amsterdam’s most significant centre of music, despite its infamously poor acoustics. The short Romantic work, La Serenata, for flute and piano or orchestraenjoyed great popularity in the nineteenth century.

It was first performed by the well-known flutist Herman van Boom, to whom the piece was dedicated. George Schoeman, for instance, performed it with the Orchestra of the Paleis voor Volksvlijt, under the composer’s baton.

264454490 Boehm Grand Polonaise Flute Part PDF

As is the case with Rossini’s Wilhelm Tell overture, the work begins with a solo for four cellos. The work was so popular that Coenen created various arrangements of boenm, including those for cello and piano and violin, cello and piano. In the Paleis voor Volksvlijt it was also performed with flute and organ.


The piano part is also eminently suitable for the harp. At the request of the Concertgebouw Sextet there followed in an arrangement for wind instruments, an obvious instrumentation considering the fact that the original version had been conceived for soprano and organ.

Due to the various timbres of the wind instruments, the melodic pattern is more easily followed than in the original. By adding the double bass, Diepenbrock also added more profundity. The use of the oboe d’amore is in this context by no means coincidental. The cazonetta ‘Come raggio di sol’ poet unknown seems to strike a lighter tone, but soon enough it becomes apparent that those rays of sunshine and happiness, too, can have a darker lining.

The suffering expressed in the last sentence may reflect Pklonaise sorrow at the relationship his wife had with the composer Matthijs Vermeulen. Novalis was searching for more vitality, intimacy and mysticism in the ecclesiastical way of thinking: Although we would not do justice to Diepenbrock by calling him a disciple of Mahler, there indeed exists a great affinity between these two befriended composers.

While Mayr kept the heritage of the classical Viennese composers alive, Padre Mattei was known to be a great teacher of counterpoint. Returning to Bergamo lateDonizetti wrote pieces for piano as well as instrumental chamber music.

Sheet Music :: Flute & Piano (A-B) :: Boehm, T :: Grand Polonaise Op. 16

Fulte nineteen string quartets, in which he could develop his skills in four-part writing, and his other chamber-music pieces were soon being played in musical salons. This facilitated contact with various wealthy families. So it came about that Marianna Pezzoli-Grattaroli, a well-to-do lady of the Bergamo high social circles, became Donizetti’s benefactor around To her Donizetti dedicated several chamber-music works, e.

She also helped Donizetti to avoid military service.

Opera, however, became his most important musical domain for the remaining three decades of his life. Incessant travels, mainly between the opera houses of Naples, Boehhm and Milan, were followed in fute a sojourn gand some flutr in Paris and by his appointment, inas Kapellmeister to the Viennese court.

The one-movement Sonata per Flauto e Pianoforte is dated by Donizetti, then 22 years old. Since there are abundant mistakes in the part writing octave parallels etc. It is one of his few chamber-music works for a wind instrument. The piece, along with his fpute quartets, still reflects Donizetti’s studies of the classical composers.

With its theatrical introduction, its frequent dialogues, as well as its buffo character, the sonata has, despite the limited thematic material and the simple form, assumed its own modest place in the flute literature. George Enescu – Cantabile et Presto for flute and piano Cantabile et Presto for flute and piano by the Rumanian composer George Enescu may make just claim to being French music.

Having left his homeland at seven to study the violin and piano in Vienna, Enescu went to Paris in to continue his musical education. There he took also lessons in composition. Enescu was exceptionally successful in Paris as a violinist, composer and conductor. Cantabile et Presto was written as the examination piece and was also set in and at the Conservatoire National. The obvious aim of such is fulte the performer is given the opportunity of demonstrating the expressiveness of tone in the bpehm movement and in the second his finger dexterity and articulation.

A traditional form, its effect is enhanced by Enescu with unusual features. Goffredo Petrassi – Souffle The solo piece for flute, alto flute and piccolo one playerSouffle, was written in Souffle introduces the sound of blown air as a new element in a piece for flute.

Neutral air, air at a prescribed pitch, flutter tongue which becomes air and air that becomes normal sound are among the different possibilities.


Theobald Boehm – Romantic Composer. Part 1: The Original Works. | Flute Journal

Petrassi’s atonal language interrupted regularly by the ‘forbidden material’ of the chromatic scale forms gestures rather than phrases. There seems to be no unifying element, either in the tone material or in rhythmic structures.

This form of athematicism would be characteristic of Petrassi’s musical language from ca. In Souffle, ‘soffio’ is the unifying element. Indications as ‘esitante’, ‘scherzando’ impose a rhetorical character on some passages. Petrassi just uses the three instruments to enlarge the overall compass of the piece; he doesn’t prescribe different characters to piccolo, flute or alto flute. The first movement -in three sections- opens in e minor but closes with a Schubertesque major-minor dilemma.

Here the piano part, richly laden with Alberti basses, serves principally as accompaniment. It maintains this status in the second movement.

Interwoven is a reference to the first movement – a technique Poulenc also incorporated in the sonatas for clarinet and for oboe. Unlike the first two movements, in the third movement the flute and the piano engage in an incisive dialogue. As a composer he left behind a varied oeuvre that is distinguished by its inventive harmonic colouring and the touches of rhythmic and structural innovation.

The passacaille is generally grouped together with the chaconne, both being in ternary meters and bearing strong similarities in form and character. The passacaille, however, is only a dance while the chaconne is simultaneously sung and danced. The most important distinction between the two, however, is that the chaconne is composed on a continuously repeated bass theme of usually four or eight bars; in the passacaille only the rhythm of this often a minim followed by a crotchet is retained.

Erwin Schulhoff – Concertino for flute, viola and double bass Schulhoff’s own description of this piece is worth reading: Over this as often in old Slavonic song lies a floating melody in the flute.

The second movement as a Scherzo is in the form of a ‘beseda’, a national Czech dance, which as its main element uses a ‘furiant’ tempo. The last movement is a Rondino after a song of a Carpathian-Russian bear driver, of which the second part consists of a Slovakian shepherd theme in the flute accompanied by an ostinato figuration of the viola and the double bass.

The whole piece is just a piece of popular music as is in use in the eastern part of the Czech Republic, where it is usual for people to sing in gay minor tonalities and dance to these. In the Concertino you find most of all gaiety, with a harmonic construction in Phrygian, Lydian and Mixolydian church modes.

Erwin Schulhoff, Schriften, pp. English by Rien de Reede, corrected by G. Joseph Hartmann Stuntz had been a student of Peter von Winter and Antonio Salieri and therefore had benefited from a solid education in composition. He was Kapelmeister to the Munich Court from to The piece was dedicated to Ary van Leeuwen, undoubtedly the best-known Dutch flutist of that era. The piece gained immediate popularity in the first half of the last century. To name just a few performances: Karel Willeke, the former solo flutist of the Concertgebouw Orchestra, played it, as did Albert Fransella, who introduced the work in London in the version with piano as well as in that with orchestra.

The concerto comprises three movements which merge into each other. The influence of Robert Schumann and Johannes Brahms can clearly be heard. Brahms’ imprint is especially recognizable in the last movement, which is influenced by his Hungarian Dances.

The orchestral material may be rented from Broekmans.