7th Symphony,  for flute, violin, cello & piano
(Arr. by Johann Nepomuk Hummel) (facsimile)

An Arrangement of Beethoven's 7th Symphony, for flute, violin, cello & piano by permission from the composer.

Polymorphics, for double woodwind quintet. 

Both stimulating and challenging in its rhythmic, melodic and expressive range, Polymorphics (1988) for double woodwind quintet, allows all instruments a chance to shine , either singly, in pairs or in varying ensemble combinations

Also see Recordings.
Cat. #CW-BL5...$30.00

Trio is in four movements.   The overall character of the work is lyrical and playful with touches of dramatic accents. The joining and separation of the two wind instruments, either with or against the piano , is a fundamental constructional feature of the work.

 Sonata Op. 34 No.2, for flute, oboe, clarinet or 2nd oboe, & piano. This is a charming multi-movement work from the Baroque period. Very little repertoire is available for this combination (three wind instruments with piano ) and this piece combines the timbres effectively. A good ensemble piece for high school solo and ensemble contests.

Claire de Lune, for flute, violin, & violoncello
(Arr. by Nora Kile)

This is an arrangement that works well for weddings or receptions, or any of those times when you are doing background music and are tired of the usual 18-19th century fare. The violin part includes quite a few double stops. It could also be used as a demonstration piece for Impressionist style if you play for school concerts. The violin and violoncello parts could be substituted with piano if necessary.

Quintet for Flute & String Quartet

The textures of this piece go from solo flute with string accompaniment to highly concentrated contrapuntal passages with all 5 instruments sharing equally in the music proceedings. The 1st mvt. is built around a motive, used melodically and then in an involved fugal setting. The 2nd is a very fast scherzo with such features as low flute register & violin harmonics. The 3rd is a Serenade and the last is a very energetic "allegro" with a contrasting middle section, melodic & expressive, before returning to the original fast tempo, which concludes with very rapid shakes in the flute.

 Sextet, for woodwind quintet and piano features one of Doran's favorite devices--familiar instruments in a somewhat unfamiliar setting.  Experienced in quintets, Doran feels it natural to combine these colors in this 3 movement piece.   He has taken full advantage of the woodwind forces, sometimes in pairs, trios or quartets and combined them with the piano, with the piano sometimes as the dominant role, other time accompaniment.   Often there is a kind of antiphonal feeling as the two alternate their parts.

The Adagio is built around a plaintive melody in the saxophone with a sparse piano accompaniment. This is expanded in the flute with a more fluid accompaniment in the piano. The Scherzo features triplets in the flute and duplets in the saxophone followed by a canonic theme in the two instruments and a new version in the piano alone. The Andante begins with flute and saxophone alone, then followed by a variation on the tune by solo piano and a combination of all three instruments at the end. The Allegro presents flute and saxophone in octaves against strict piano chords and played in various guises followed by a canonic section and return to the last theme in variations. Doran's music hovers over tonality. His favorite forms are theme, variations and rondo, and he enjoys the challenge of extracting as much color as possible from a few instruments. It is his intention to compose efficiently with well-balanced instruments for them to make the music attractive to play and hear!

They exploit the three instruments in many ways , sometimes flute & oboe against piano or the opposite, other times flute or oboe solo with piano, piano alone, or all three together.  A challenge for each part.

Jugend, Op. 139, for flute, clarinet, horn, & piano. 
(ed. Douglas Worthen)

Jugend (youth) is a dense chamber work of intense and expressive character.   This piece will provide new repertoire for wind quintets looking for variety in programming works with piano.

Also see Recordings.
Cat. #ED-KE139...$17.00

Airmail Edition, for flute, clarinet and bassoon (or cello). 

Modern chamber piece with three contrasting movements ranging from the rhythmically complex first movement, to the moody second movement, and ending with a fast driving finale. 

 This speedy two movement piece has a lot of thrill.  It brings enthusiasm to both performer and audience.

*WINNER in the 1998 NFA Newly-Published Music Competition. 

Technically challenging and jazzy, this piece is full of intensity and fresh spirit&emdash;from the pen of a promising young composer. 

Jewish Wedding Music Collection, for flute, violin and cello (Arranged by Nora Kile)

Jewish Wedding Music Collection includes a medley and three often-requested Hebrew tunes appropriate for Jewish weddings in any synagogue. Two versions of "Dodi Li" are included, along with "Erev Ba" and "Bashana Haba-a". Double stops are in both string parts. A pianist could play the violin and cello line.

Seventh Quintet, Op. 104 (facsimile) , for flute, violin, two violas and cello.

A work similar to Beethoven's quartet writing, this piece features the intensified tenor counterpoint of a second viola. 

Il Don Giovanni: grand' Opera ridotta in Quartetti (facsimile) for flute, violin, viola, & cello.
(Intro. by Trygve Peterson)

 An 1804 anonymously arranged flute quartet version of virtually Mozart's entire opera.  A masterful rendition of the most important arias and ensemble movements from the opera , published from the original urtext edition.  A great gig book!

Originally for Clarinet and Strings, is arranged for flute, 2 violins, viola, & cello.

Arranged for flute and string trio in 1806, Quodlibet is a clever potpourri of 13 different small arias, marches, and overtures , drawn from five different Mozart operas: Don Giovanni, Le Nozze di Figaro, Die Zauberflöte, Titus, and Die Entführung aus dem Serail.  The unusual title, "Quodlibet", Latin for "what you like" or "what pleases" , describes often unrelated works that parody the original text or are humorous in nature.  This delightful collection of some of Mozart's great music provides moments of great emotion and drama interrupted by comic farce , and regal and powerful scenes give way without warning to exuberant, gleeful lightheartedness.

Salon Quartets (facsimile)
for flute, violin, cello & piano.

Popp arranged the most popular music of the early 19th century for this enormously practical mixed ensemble.   Great fun for gigs as well.

Salon Quartet by alevy

Salon Quartet by Mendelssohn.  This one is The Wedding March. 

Salon Quartet by Meyerbeer

Salon Quartet by Schumann

Salon Quartet by von Weber 

Sorrow, Like Pleasure, Creates Its Own Atmosphere for solo Flute and Samplestra (pre-recorded electronics). 

The title is from the novel ‘Cousin Bette’ by Honore de Balzac. The samplestra part consists of an Indian voice, Indian flute, drums, and synth. sounds. Samplestra is the name Pritsker gives to any pre-recorded elements in his music. He sees it as an orchestra of samples, since he uses little fragments of pre-existing music or sounds and manipulates them to his own composition. The flute part dances around the Indian voice/flute fragment till it breaks into a perpetual motion-like line that becomes the counter motif to the pre-recorded music. Technically it is relentless and creates various atmospheres over a static feel from the track. The music builds to a climax and recedes to a calm conclusion. The CD includes performance tempo and a practice tempo.

Three Quartets, Op. 145 (facsimile) for flute, violin, viola and cello. Ferdinand Ries’ Quartets are solid Beethoven-like chamber pieces that equally balance interest for the flute, violin, viola and cello. This includes the COMPLETE three Ries’ Quartets!

Good Morning, Mr. Bluebird!, for flute, soprano & piano is a humorous send up of coloratura/flute arias in which the flute gets even! 

Variation on a Theme by Gluck, Op. 28, for flute, 2 violins, viola, & cello
(Ed. by Doriot A. Dwyer)

Doriot Anthony Dwyer , principal flute with the Boston Symphony Orchestra for nearly 40 years, recorded this piece with The Manhattan String Quartet.  Changes she has made are reflected in this edition.   This work is featured on our compact disc "Chamber Music for Flute & Strings".

Quintet for Woodwinds, for flute, oboe, clarinet in A, horn in F & bassoon.   The idea for this transcription began following a string quartet concert in which the Verdi Quartet was performed, thus the idea was born to have it transcribed for woodwind quintet.

Quintet, for flute, oboe, clarinet in Bb, horn in F & bassoon.   Written in a tonal and accessible style, each of the players is an equal partner in this demanding but audience pleasing work.  Sorrow, jubilation, humor, sarcasm, and joy are some of its many moods, with good humor and bubbling energy predominating.  The work was written to honor the memory of Nelson Hauenstein, noted former Professor of Flute at the University of Michigan, and one of the composer’s teachers.