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Sonata in b

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SKU: 01H160111010
Description

Description

Sonata in b Minor
Composed by Amanda Maier
For flute and piano
Arranged and Edited by Carol Wincenc
Co-edited by Bryan Wagorn
Published by Hal Leonard/Keiser
Includes score and flute part

Back Cover:
      I have always had a passion for learning about any “new” works of music, vintage or contemporary, and especially for my instrument, the flute. With the discovery of, thanks to colleagues and first hearings of their recordings of the Maier: Bryan Wagorn, Elmira Darvarova, Frank Almond and William Wolfram, I realized that this beautiful violin and piano sonata would work exquisitely for flute and piano with very little adjustments needed. Thus, I set out on the journey of re-“arranging” and transcription, as I have in my previous and successful Lauren Keiser Music publications of the Mozart flute concerti and icons in the flute etude repertoire by Andersen and Berbiguier.
      In this edition of the Amanda Maier Sonata in b minor, which apparently was unplayed for 100 years after its mighty debut at the end of the nineteenth century, I have kept the same articulations, dynamics, and most of the octave placements as written in the original violin part. As noted, in the version for flute, there are many “ossia 8va” choices for those who do not play on an instrument with a low B, or who prefer the sonority of the higher octave. And in some cases, I have moved the flute part up an octave entirely for needs of projection or ease in musical expressiveness.
      Of course in any transcription for flute, the player has many options to choose from. We have only to look at so many ninetheenth century transcriptions of romantic violin sonatas for flute and piano. In my recording of the work with pianist Bryan Wagorn, we offer a guide and reference to the possiblilites of a successful execution of the work as well as the resultant joys of delving into and bringing glorious music to our instrument, which is lacking in repertoire from this time period. 
      I wish to thank my above mentioned colleagues, my Stony Brook University Doctoral students Hannah Porter Occena and Daniel J Carlo, my publishers and editors, recording producer Weixiong Wang, the Maier-Rontgen family, and above all else, Amanda Maier herself for her magnificent artistry, courageousness, and undaunted pioneering in the field of music composition and performance.
      I am proud to be of service to a work of the highest level of creativity, and bring it now to the flute world and for all to enjoy.
With thanks,
CAROL WINCENC

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