Berühmte zweier und dreier Flötenstellen der Orchesterliteratur

There are several famous passages in orchestral literature in which two or three flutes appear as a „solo group“. What these passages have in common is that the accuracy of the interaction between the partners is particularly important here, which is why they ought to be rehearsed separately. Since experience shows that in professional practice there is often a lack of sufficient opportunity and time for this, this edition is intended to ensure that a study of these passages can begin at an early stage. For the performers, there are sometimes more technical-rhythmic problems (as for example with Bartok, Smetana and Tchaikovsky), sometimes more tonal-intonational ones (as for example with Mendelssohn, Verdi and Wagner), problems which are worth working on again and again.

The addition of five- and six-part harmony derives from the same guiding principle as the four-part setting of the orchestral rehearsal standard passages. As a welcome by-product, a useful increase in five- and six-part playing literature for ensemble groups results, some of which is even suitable for independent performance. In the appendix, a four-part version of probably the most beautiful piece of music ever written for the flute is included. The soprano part can also be played by the piccolo-flute, thus providing a valuable tonal exercise for this instrument. Detmold, January 1989 (Richard Müller-Dombois)