Flute Magic

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.

An arrangement by Martin Parry of one of Albéniz's most haunting and evocative pieces.

This arrangement by Rebecca Faith is not what is usually expected when labelled with the familiar title Silent Night. This piece of music is more of a variation of themes, the familiar melodies remaining recognisable but treated as small pockets of atmospheric motifs rather than one long lyrical melody. The style and harmonies have a more experimental magical feel whilst remaining easy on the ear, and are created to capture the attention and imagination of the listener.

A lively interpretation by Rebecca Faith, the Joy to the World melody is heard layered with original melodies and motifs. An interesting rhythmic idea binds the piece together making it sparkle and dance, with the underlying semiquaver movement creating an exciting shimmer effect. The constant shifting of key, texture and melodic ideas makes this an arrangement that will keep both the performer and listener on their toes.

Sonata for Flute and Piano, Opus 17 is written in a late Romantic style. The first movement is constructed essentially in traditional sonata-allegro form, with an extensive coda augmenting the new material heard in the development. The passionate second movement opens with a lyrical theme that culminates into a free cadenza at the end. The third movement is written in theme and variation form. Of importance, the fifth variation is written as a four-part fugue and the final variation culminates by joining the theme of the third movement with that of the first. This work not only adds to the existing repertoire of intermediate-advanced flute music, but also teaches young people about traditional classical forms such as the rondo, theme and variations and the fugue. For the history of the composition please see Jim Kelsey's biography. Suitable for teaching studios, secondary schools, colleges and conservatories.

As a change from show-off bravura items this piece simply asks to be loved, and will return that feeling. Written in a very approachable style, it is well mannered enough to be taken anywhere. For colleges, conservatories and professionals.

Starting peacefully and calmly Valse Semplice is followed by a variation of mood swings and melodies before returning to the valse. The Gipsy Rondo represents an atmospheric Hungarian scene, and When Autumn Comes starts with a nostalgic main melody describing autumn having arrived, before chasing through the falling leaves.