An arrangement by Martin Parry of one of Albéniz's most haunting and evocative pieces. Review: "Another well thought out and lovely arrangement from Martin Parry taking the well-known tune Granada which although originally written for piano has become one of the most important works of the classical guitar repertoire. Here Parry lets the flute have the tune the majority of the time but in places lets the piano take over to add variety and to continue some of the phrases in a different octave. The melody works well on the flute and one which would fit nicely into a Spanish programme of music (which I do get asked to do!) or as an encore to a recital. Very glad to have it added to my repertoire." – Dr. Rachel Smith DMA, MA, BMus (Hons), FTCL – November 2014 Review: "This popular piano solo is now arranged for flute and piano and makes for an ideal encore piece. For studios, schools, colleges and professionals." – New Issues December 1994
Martin Parry began playing the flute at the age of 8 while a chorister of Canterbury Cathedral. He studied with Geoffrey Gilbert in London and Jean-Pierre Rampal in Paris. For over 30 years he has been at the forefront of London's orchestral scene. He was principal flute in the London Philharmonic Orchestra for ten years from 1974, and in 1987 joined the London Symphony Orchestra as sub principal flute. He has broadcast as a soloist and chamber musician both in the UK and abroad.
Following a bell-like introduction, the O Holy Night melody is heard in different colours, first on the flutes mid register, then in the piano bass, back to the flute and its higher register and then in a more chordal manner from the piano's treble. This arrangement by Rebecca Faith has a definite gradual growth in richness and emotion, climaxing at the key change where the flute is heard playing a very passion filled counter melody.
A substantial challenging work set in three movements. The first movement with its energetic opening is a rhapsody, a fantasy representing everyones Fire Island. The Adagio is there to remind us of the people who are no longer on the island - those who died and those who just don't return. The second subject is like the whispering of the kind of questions that permeate every close knit community. The excesses of life explode throughout the exuberant final, and Fire Island ends in optimism and triumph.
Thinking of nostalgic memories of bygone days Memories pictures someone sitting on a public bench looking out to sea. Concert Waltz represents returning from a music concert to go on to happy partying and dancing, while Haunted Dreams pictures a sleeping adult haunted by memories of the past.
Penderyn is a tiny village at the edge of the Brecon Beacons and is the birthplace of the compose's grandmother. The old church of Penderyn is enclosed by trees that are home to scores of birds from which the village takes its name - 'Hill of Birds' is the English translation. The flute evokes the bird song and in the central section plays a folk style melody, while the piano takes a harp like role with an old Welsh hymn (Llef) hidden in the harmony and following the bird song.
This beautiful melody arranged by Rebecca Faith is refreshed with nonchalant jazzy harmonies. The main melody is heard but then takes a different turn with a short interlude in an improvisatory style. The main melody is heard in three different keys descending each time, however the opposite effect occurs as the rich sound of the key change lifts the ambience of the music.