1790468
The Golden Flute
1790468
1790468
1790468
Copyright Material for Preview Only - Sheet Music Plus
Chamber Music flute, piano
SKU: PR.114409490
Concerto for Flute and Orchestra. Composed by Chen Yi. This edition: saddle-wire stitch. Sws. See the program note on the second page of the flute part. Score and parts. With Standard notation. Composed 1997. 28 pages. Duration 0:16:00. Theodore Presser Company #114-40949. Published by Theodore Presser Company (PR.114409490).
ISBN 9781491108581. UPC: 680160014248. 8.2916666666667 x 10.930555555556 inches.
After hearing Chen Yi’s viola concerto, Sir James Galway invited the composer to write him a Chinese flute concerto. Chen Yi responded with The Gold en Flute, using a Western flute to speak in the language of Chinese wind instruments. Chen’s concerto starts with the Chinese folk tune Old Eight Beats, and the first movement is inspired by Chinese traditions of melodic development, such as a wide array of grace notes and performing techniques around the melodic notes. Following a substantial cadenza, the intermezzo-like second movement imitates the sound of the ancient clay wind instrument xun, which has a slow but tense, mysterious, and dreamy voice. The third movement returns to virtuosic playing with all former pitch materials recapitulated.
Chamber Music flute, piano
SKU: PR.114409490
Concerto for Flute and Orchestra. Composed by Chen Yi. This edition: saddle-wire stitch. Sws. See the program note on the second page of the flute part. Score and parts. With Standard notation. Composed 1997. 28 pages. Duration 0:16:00. Theodore Presser Company #114-40949. Published by Theodore Presser Company (PR.114409490).
ISBN 9781491108581. UPC: 680160014248. 8.2916666666667 x 10.930555555556 inches.
After hearing Chen Yi’s viola concerto, Sir James Galway invited the composer to write him a Chinese flute concerto. Chen Yi responded with The Gold en Flute, using a Western flute to speak in the language of Chinese wind instruments. Chen’s concerto starts with the Chinese folk tune Old Eight Beats, and the first movement is inspired by Chinese traditions of melodic development, such as a wide array of grace notes and performing techniques around the melodic notes. Following a substantial cadenza, the intermezzo-like second movement imitates the sound of the ancient clay wind instrument xun, which has a slow but tense, mysterious, and dreamy voice. The third movement returns to virtuosic playing with all former pitch materials recapitulated.
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