Steve Owens

Audio Available

Component

Delivery

Ensemble

Eprint Folders

Grade

Instrument

Instrument Family

Instrument Type

Item Sequence

Large Print Edition

Marketed Status

Minimum Sell Quantity

MINTS Data Available

Product Line

Prop65

Score Available

Video Available

Lascia ch'io pianga illustrates Handel’s freedom in the reuse of his own works, and how he moved easily between the instrumental and vocal idioms. It originated as an instrumental Sarabande in his 1705 opera Almira, then appeared as the aria the aria "Lascia la spina, cogli la rosa", or "Leave the Thorn, Take the Rose", in his 1707 oratorio Il trionfo del Tempo e del Disinganno. Handel reused the material as the aria Lascia ch'io pianga in Rinaldo. This arrangement, for modern flute and piano, returns the music to its instrumental origins; the ornamentation of the da capo is informed by vocal practice, but is designed to be idiomatic for the Boehm system flute.

Lascia ch'io pianga

Flute Solo with Piano

Da tempeste il legno infranto Cleopatra’s aria of joy and triumph, upon learning that Caesar, whom she loves, is in fact alive despite reports of his death in battle. This arrangement asks the question, “What would Handel have done with this music if he had a modern flute and piano at his disposal?” Handel was quite free in the reuse of his own works, and moved easily between the instrumental and vocal idioms. This coloratura aria is well suited to the flute and recomposition into virtuosic music for flute and piano. The ornamentation of the da capo is informed by vocal practice, but ultimately designed to be idiomatic for the Boehm system flute.

Da tempeste il legno infranto

<p>This fresh arrangement brings Handel's late masterpiece into the modern era. Asking "What would Handel have done with a modern flute and piano?" – the answer is this vibrant, idiomatic setting, perfect for flute, piano, and soprano voice, or with an optional second C instrument in place of the soprano voice.</p>

Sweet Bird

Flute Solo

The Sonata in one movement was completed in 1989 and revised for this publication in 2025. It is a stretto fugue in one continuous movement. True chamber music, it features an equal partnership between the flute and piano. Performances include one by Fenwick Smith and Sally Pinkas. This piece was also honorable mention for Prairie Home Companion's "Talent from Towns Under 2000" and was featured on their website for several years.

Sonata in one movement

Kyrie, dedicated to Lisa Borst-Sandberg, is work entirely composed in multiphonics for unaccompanied flute. I have been doing considerable work with Bohlen Pierce tunings, which are based upon the tritave (perfect 12 th). I discovered the ability to play tritave multiphonics, and made these the basis for this short work. I was fascinated by the possibilities of tritaves on the flute which are produced by emphasizing the 3rd partial, much like a clarinet. I combine this effect with a few other simple multiphonics to create a ternary form evocative of the Kyrie from the ordinary of the mass. This work is essentially a duet for solo flute.

Kyrie

Three of the Elizabethan composer's most famous songs, The Earle of Essex Galiard, Flow My Tears, and Come Again! recomposed into an idiomatic showpiece for modern flute and piano. Duration: 11:00

Three Songs

V’adoro, pupille represents a unique challenge for the arranger. Cleopatra’s seductive love song features two orchestras: the pit orchestra, and a second on stage (or off stage) orchestra of 9 players representing the muses. This arrangement asks the question, “What would Handel have done with this music if he had a modern flute and piano at his disposal?” Handel was quite free in the reuse of his own works, and moved easily between the instrumental and vocal idioms. The task is one of remaining true to the multi-dimensional character of the aria while recomposing it into music idiomatic for flute and piano. The ornamentation of the da capo is informed by vocal practice, but ultimately designed to be idiomatic for the Boehm system flute.

V'adoro, Pupille

A sorceress' aria of love recomposed into an intricate and sophisticated showpiece for the flutist's low octave and dynamics.  Duration: 6:00

Tornami a vagheggiar

Global Sections - CORE [DO NOT TOUCH]*

Favicon

Need Help? Contact Us or call 1-800-345-6296    Live Chat

Header

Don't have a business account? Create one

CartDrawer

Children

TrustPilotScript

Customer Service

Selection Made Easy

About J.W. Pepper

J.W. Pepper

CustomFooter

Product List Page - CORE [DO NOT TOUCH]*

Breadcrumb

CustomProductGallery

Products