Adaptations for flutes group

Some of these adaptations of famous songs or melodies for flute quartet are simply the result of the transposition on flute of the musical parts assigned to the various instruments of the orchestra (Mozart, Konzert in D) or the parts assigned to the various melodies of piano score (Paganini, Perpetual motion, or Handel, Arrival of the Queen of Sheba).

 Excluding the Partita A moll of J.S.Bach, there is no compositional effort in all these songs.

More than the desire to create new music, they represent an attempt to discover new sounds and behaviors in our instrument.

To play the flute, like a violin, till the extreme high register, for the particular solo theme (Debussy, Moonlight) with the need to achieve a delicate and expressive sound, or to watch the flutes while they move in parallel in the typical middle register of the violas (Paganini, perpetual Motion), or even to ask to a flute player to be strong and deep in the lower sounds of the orchestral cellos (Mozart, Concerto in D), is not only fun for the unusual role of the flute, but beneficial for understanding the role sometimes “uncomfortable” on which our orchestral companions are called to work on playing music that we all know, but we can appreciate only from our point of view.

As well as the flute, in their respective musical groups, they are called to play a recurring role because of the special characteristics of the musical instrument they have chosen.

As we can consider ourselves experts in reading of orchestral or chamber music practice, it is just in this exchange of roles that we can learn new things while we put ourselves  in the role of other instrumentalists.

These adaptations have that particular anomaly than other quartets, originaly written with a good sound balance, so we can not be completly functional. For all of us this can be a nice challenge to develop new aspects and behaviors that we have never been called to investigate.