Moore: Music for Flute and Piano
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- Composer: Kermit Moore (1929-2013)
- Instrumentation: Piano, Flute
- Work: Music for Flute and Piano (1980)
- ISMN:
- Size: 9.0 x 12.0 inches
Description
Sonata in Two Movements
FANTASIA - ALLEGRO CON SPIRITO
Music for Flute and Piano is dedicated to flutist Harold Jones, a frequent collaborator and close friend of Moore. Like Moore's other works with similar titles (Music for Cello and Piano ; Music for Viola, Percussion, and Pian o; and others), the piece takes the form of a sonata in two movements: a lush Fantasia and a lively Allegro Con Spirito. in difficulty, form, and sound we might say that it closely resembles a French competition work-hardly a surprise, given Moore's education at the Paris Conservatoire and his study with Nadia Boulanger and George Enesco.
The Fantasia (marked Adagio di molto) elaborates on a reasonably strict tone row, mostly chromatic but with several large interval leaps. Despite the well-developed row, the piece is not dodecaphonic; synthetic harmonies grown from the row are reinforced and developed. The movement opens with the piano's dark statements. The flute sings above in the first theme, punctuated by the Modernist tendency to color long lines with staccato comments. The second theme, syncopated and with more than hints of gospel, leads into a flute cadenza. The movement ends with the flute's restatement of the opening while the piano takes the harmony to its logical conclusion.
The Allegro Con Spirito is primarily in a sprightly 6/8 or 9/8, with a central 3/4 section that references the Fantasia. A highly chromatic first theme is traded between instruments, punctuated with dancing accompaniment, that leads into what flutists might recognize as a French Concours-type development with rapidly leaping octaves and long, high singing melodic lines. A central section with more flute cadenza material-this time tone-oriented rather than scale-oriented-grows into a recurring trilled dialogue between the two instruments. The final section restates the opening material and accelerates into the finale.
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
Moore: Music for Flute and Piano
