Universal 50 CLASSICAL STUDIES FOR FLUTE Edited by FRANS VESTER | fy wn universaledition.con 014672 ae = vienna - Tondon + new york Src SoranCONTENTS BOEHM, Theobald 7 Studies from “24 Etudes ” Op. 37 Nos. 1-7 BLAVET, Michel Rondeau from “ ler Recueil de Pidces ” ete. (1735) No.8 DEMERSSEMAN, Jules 6 Studies from “50 Etudes Melodiques ” Op. 4 Nos. 9-14 FURSTENAU, Anton Bernhard 5 Studies from "26 Ubungen” Op. 107 Nos. 15-19 HUGOT, Antoine 2 Studies from " 25 Grandes Etides ou Nos. 20:21 Exercises pour la Flite” Op. 13 HOTTETERRE LE ROMAIN, Jacques No 22 Ecos from “ler Livre de Piéces pour Ia Flite eraversiére” Op. 2 (1708) BOEHM, Theobald 10 Studies from “24 Caprices-Etudes ” Op. 26 Nos, 23-32 ANDERSEN, Joachim 2 Studies from “24 grosse Etiden” Op. 15 Nos. 33:34 MICHELIS, de Vincenzo 6 Studies from 24 Esercizi" Op. 25 Nos, 35:40 FURSTENAU,AntonBernhard 10 Studies * Bouquet des tons” from Nos. 41-50 "2g Exercises, Caprices et Préludes ” Op. 125 INHALT BOEHM, Theobald 7 Studien aus “24 Etudes” Op. 37 Ne. 17 BLAVET, Michel Rondeau aus “ ler Recueil de Pieces” exc. (1735) Ne8 DEMERSSEMAN, Jules 6 Studien aus “ 50 Etudes Melodiques ” Op. 4 Nes. 9-14 ASTENAU, Anton Bernhard. 5 Studien aus “26 ibungen ” Op. 107 New 1513 HUGOT, Antoine 2 Studien aus “25 Grandes Etudes ou rs. 20-21 Exercises pour la Fite” Op. 13 HOTTETERRE LE ROMAIN, Jacques Nr. 22 Eos aus “ ler Livre de Pidces pour 1a Flate traversidre” Op. 2 (1708) BOEHM, Theobald 10 Studien aus “ 24 Caprices-Etudes " Op. 26 Nes. 2332, ANDERSEN, Joachim 2 Studien aus "24 grosse Eriiden ” Op. 15 Nes. 33-34 MICHELIS, de Vincenzo 6 Studien aus " 24 Esercizi” Op. 25 Nes. 35-40 FURSTENAU,AntonBernhard 10 Studien “Bouquet des tons” aus Nis, 41-50 "24 Exercises, Caprices et Préludes ” Op. 125 2 4 36 o 2 8 es 8 Re7 STUDIES See ae from] aus‘ 24 Etudes” Op. 37 (1863) THEOBALD See | % UES =e ow BE. ee nd ———_—=_.__ S=_—_——————_s be E SSS |= Copyright 1970 by Universal Edition (London) Ltd, London Universal Eaiéon UE 4672 UE, tere L2 a All lesro P oa ——?' “ap Co Ge Ee Be. Cn; Eo Co Co Fafa Pa Bee tigre pho ot f Vie oe SQ. ‘crexe. sempre he U.E.14672 LAllegretto vie ~~ = St Farce eee eeeeeee eee tranguillo ¢ leggiero v See mec at fee eee ae perdendost ecg tems ei a P SER eee eet err ir UE. 14672 LRisoluto f UE. Mere L=v) Ble Pee een eee eet € feand timep) Pie v Ww UE. 14672 L.Scherzoso, mf ULE.aere LAllegro risotuto Wo eee, SS U.B.Aser2 La cll i ONDEAU from|aus'ter Recueil de Pieces” ete. (1735, ; ee MICHEL BLAYET (1700-1768) ‘This is an exact copy of the original. Mark your own dynamics and V's. Genave Kopie des Originals. Die Dynamik und die Pestlegung der Atemzeichen ist der Wahl des Spielers tberlassen. Ret ce lA Re Cae ie ee Gop S 8 Da Capo at Fine UE 14872 L6 STUDIES from|aus"50 Etudes Melodiques” Op.4 JULES, DEMERSSE: (1833-1866) To be played in the elegant style of t8th Century French ballet music. The Scherzo should be double-tongued, and the staccato pass the Tro shoul be single-( tong passage: ied Imeteganten Stil francbstseher Salett musik Bangers gespiel werden, SCHERZOgitegro vivgce, des 19, Jahrhunderts zu spielen. Das Scherzo soll mit Doppelzunge, das Trio mit eintacher lv) f ie i ‘PP sempre staccato vere EL nf =— plegtrement UE. tsere LP grasioso creso. =—_—- P orese, f = + Scherzo Da Capo U.E.ta672 LAllegretto un poco lento > iene UE Agere LSee aig ae mp leggicro oe TT v mp liggiero psubito ‘erese, sempre v ete E > ee =e f — dim, al fine U.E.t4672 LPractise staccato as well. ‘Aseh staccato zu iben. Allegro pq ote ULE.14672 Lby VEEN ED BN RR dim, X( poco a poco crese. ret jeter re’) 2 72 EY 72 2 2 U.EW407e L15) TRTTET TeTETK Practise staccato as well. (ter Lore oer oor ) ‘Auch staccato zu iiben. Allegro vivace zo 12 ULE .14672 LBY" ad bib... UB.14672 L.17] Fay altention fo articulation; faulty articulation in this study is worse than wrong notes, Dio Artilculation muss besondera beachtct werden, In dieser Dung ist eine feniernafte Artikulation schiimmer als falsche Tone, Allegretto un poco vivace pee Pet te 13 Pe >ehes. v = F Sf soitenuio 2% UE.te7e LU.E.t4672 L.For evenness and finger control, Practise in a relaxed manner and do not lift the fingers too high. Practise diffieult intervals slow and in the following rhythmic patterns: ‘i For Gleicnmassigheit und Fingerkontrotie. Diese tioung sott in entspannter Weise gaspielt werden, ohne die Finger stark aufzuhets Sohwierige Passagen sind langsam und in folgender Woise au jben: ELEEES ant “ £ __ simile Allegro moderato o> = conte eoete eepPa’.—-- . et a ieee te emit ae oe e “ 5 >. eae eee ULE, 14872 L20 eer eo # fice Epetetttetertes fepteateete pete ee’ i _—— forte toete tothe’ nee poeta ep nti= Siesta Uber L bien lieat 5 STUDIES from|aus “26 Ubungen” Op.107 = oe ANTON BERNHARD FURSTENAU (1792-1852) Allegro (4-120) Srisolute U.E.14672tf dim. P Practise this study legato as well, as shown in bars 8-8) both in the given tempo and very slowly, as a study for fone and slurs over large intervals, Practise also inthe folowing mythmic natenns Hae Diese Sts ist auch gato 2u then, dhlich den Taken 8-8, m angegebenen Temp, we ach Ser tangsam als Cbg fr ongebne Bindungen ibor grsse Interval, Auch in folgender Weise na ben Allegretto (J-22) 2 RES ae BEE R ee ee st ft = sempre staccato UE.14672 L23 UE. Mere L24 For dynamics, Firstenau says that the £¥ should sound like a French Horn, theppplike the whispering of wind. Fir Dynamik, Firstenau sagt,dass ein Fortissimo wie ein Waldhorn, ein Pianissimo wie sduselnder Wind klingen soll. Allegretto (d.+ 8) con tutta la forsa UE. 1872 Lw) ppp PP U.B.t4672 L26 For expression, tone colour and vibrato. Sustain the melodie notes in the Manore, Flr Ausdruck, Klangfarbe und Vibrato. {m*Minore” sind die Melodienoten zu halten, Adagio (J. ea) 18 dolce con expressione (v) = Series beet oS aS ite! Sa Minore nf U.E.tn67227 6 U.E.s4072 L28 con expressione dolce U.E.14672 LAllegretto ie 138) P UE. 14672 L30 2 STUDIES frum aus “25 Grandes Btudes ou Exercises pour La Fiate” Op. 13 i ANTOINE HUGOT Adagio con espressione (1761-1803) = Coker LULE. 14672 LAllegro Agitato U.E.s4672LULE. 14672 L* ECOS Srom|aus “\°T livre de Pieces pour la Flite traversiere” Op 2 (1708) For dynamics, intonation and style (this is an exavt copy of the original). JACQUES HOTTETERRE le ROMAL/ (4650-1738) Fiir Dynamik, Intonation und Sul (genaue Kopie des Originals). & gz = coo + o (eS SS eS See - f P f & lo pt PHC Ay. . Bp fone ale fon cal = 6s pfte gt tpt fb pptentete teen U.E.t4672ULE.14072 L36 10 STUDIES from|aus 24 Caprices- Etudes” Op 26 THEOBALD BOEHI Vivace (1794-1881) 2 U.E.1462 L‘rese, U.B.14672 L38 Practise for regular ehythm, independent of articulation. , Unabhiangig von der Artikulation in gleiehmassigem Rhythms zu iben. Allegro Ses et =o U.E.14672 LU.E.14872 L40 Do not omit this exercise. Trills are difficult. Try to play espressiva in spite of the trills. Diese Ubung sol af einen Fall aasgelassen werden,” "Die hil snd sohwetig- Ungeacteldessensolle mit dusdruck gespielt werden, = indie on ge oh Mee AE oe a —~ Wi 2B ar aoe dim. nd a tempo ete trl ste He str te te te tp tt te gtr bl te tte tte’ trys try tr tr, tr P ttt tv ———, fio» f= dolce NOY tp tp et gt te P a vos NBR U.E.14672 LFor double tonguing. Fur Doppelzunge. Presto 26 t sempre staccato sempre stac diminuendo ULE. 14622 L.— Te ULE. aoe L.For double tonguing and legato in the low register. Flir Doppelzunge unt Legato-Spicl im tiefen Register. = Presto U.E.4672 LULE. 14672 Lr For tone quality, tone colour, vibrato and expression. Flir Tongestaitung, Kiangfarhe, Vibrata tind Ausdruek. Andante cantabile i att 29 Sion = a. — ad libitum aN Vie A v ———_—__ P —=s U.E.W4072 L eS Eee ee eee eee eee eee eee eee eeeU.E.14672 LU.E14672 LTempo di valse a &—, tr UE tae LPay attention to articulation. Mit besonderer Beachtung der Artikulation._ Presto 9. ¢ ~ 2 UE. Mere L. 2 STUDIES jrom{aug24 grosse Etiiden” Op 15 Practise oth the Andersen exercises staleato ag te Titan aeraet Beide Andersen-Ubungen sollen auch staccato geibt werden, Z ‘Allegro con fuoco 4 = 132 (1847-1909) U.E.46r2 LGite pememarert + = Crese. =~ — atti eoamrietic ieee eeretton t ‘ ee U.E.14672L‘This is an exact copy of the original. The problem of this exercise lies in its bad construction. It is almost impossible to discove how to place the phrasing. Try and solve this problem Geuaue Kopie des Originals, Das Problem dieser bung tiegt in iheer sehlechten Konstruktion. Bs ist fast unmiglich festzustelten ‘co phrastert wercen soll, bian wrsuehe die Losung dieses Frostems, See E Allegretto J 100 5 0 = mfcaressando # éeatiepticntet teiertet te ._tontinn tiee'tiet Bet a tn Bt ieee = ss eresc. poco a poco - dileip ct EAE Feeney ee —_—_——___ — — er 7 : af Se ULE. 4672 L53 _—~ bbed cinabiice erese. poco a poco — oT e U.E.teer2 L,6 STUDIES from|aus “24 Bsercizi” Op.25 VINCENZD de MICHEL}: 1825-1891) for evenness, Also practise at J» 9, using only half the Vs Fir Gleichmissigkeit, Auch im Tempo ¢ - 96 zu iiben, wobei die Atempausen auf die Halfte beschriinkt werden sollen, Allegro moderato mf molto legito ed elegante Eager? LU.E.t4672 L,56 For the 4th finger of the left hand. Flir den 4. Finger der linken Hand, Allegre dete 36 LL av U.E.tas72 LA QD eee 7 rn U.E.t4872 LAndante un poco sostenuto 4+ 58 appassionato p —— P>— ——. ie, a tempo 4s e Se eee crese. molto veloce oe RREZEE f Pa piacere rall. U.E.44672 L<— — tempo Vig’ pe get Peal -_,. Ree olny | SF animando e orese. — ~ eet, incalz. ¢ erese. f= velocissime ‘Tempo I P 4 atempo —= Pdolei eerie ater een SEP PAM of Sif. tim. UE. S672 L60 Agitato J+ 100 Fi UE. 14872 L.UE. s4072 L62 For triple tonguing. Fir Tripelzunge Allegro con brio d= 96 t UE 14672 Lorese. sempre UE, Mere L64 Larghetto J+ 52 a tempo —_—__—_—— Serena recreate eer eee ritard. alt a tempo fr UE. 14672 Litiptetotetebe os 4.,)>~ ‘con bravura V affrett. atempo ga N precipitate 2. —_ ff a te v P SS a piacere x iio ep ov —==_ F - te ae Cone accel, poco a poco ral. molto UE, 14672166 Poco pile mosso 4 U.E.14672 L.10 STUDIES “BOUQUET DES TONS” from/aus ‘24 Exercises, Caprices et Préludes” Op. 125 ANTON BERNHARD FURSTEN, (1792-1852) Mark your own V's in the ten fine Firstenau studies given below. (Exaet copies of the original Differentiate clearly between an exercise, a caprice and a prelude in your performance. Play withthe expression worthy of sol concert pieces. Hf necessary, you may interrupt a slur to take a breath, as Flrstenau states in his'"Kunst dos FlBtenopiels!(Op. 128, 10-14. Die Atempausen kinnen vom Spicter selbst bestimmt werden. (Genaue Kopie des Originals.) Zwischen “Bxerelse;”"Caprice” und “Prelude” soll in der Ausfiihrung klar unterschieden werden. Man spiele ausdrucksvoll wie Solo-Konzertstiieken. Neon solwendig, dart, um eincuatmen, ein Bindebogen unterbracken werden, wie es Frstenaw in seiner “Kunst des FiBtenspiel (0.188, S, 10-14) dargelegt hat. a a Andante Energico a f Oe ee RRR 7 3 pra marcato ee dolce lusinganda U.i.14672 LEBY an a tr fr tf ool i KEE Bick? ft oo accelerando Sf UEtaere LAllegro con spirito J=t12 on h y —— er ete 2 tnt U.E.t4672 L70 ore Pe dolce britlante raed poco ritard. ULE. a872 LAllegretto J: 104 dolce amabile =—— p Ub.a6r2Ldolce amabile P => UE, 14672 L73 —_— ooo etemga. a be Peg taea SS dolee amabile ae as ei ele bith ett °° bas ra ‘, > oo rit. ‘orese. = alee = dim. pp ? PP dim. PPP U.Es4672 L4 Andantino con espressione 2)= 132 den marcato il canto molto cresc. 4 ea f Eid UE .19872 1‘poco agitato be smors., UE.14672L16 Malinconico a t= Ff Pa suo comodo —_=-, = > Tess SN Tempe di Menuetto dene f pesanie = Sora. nf Py a ee Presto J= 126 mf sempre stace. = p eS U.EAae72 Lores. eS ree Tempo L mee ot ‘Pa suo comodo * m © pe tee f pesante ~ pp ‘smors. a WE.4672 LAllegro tempestoso = 72 4 fereniees Sf ULB. 14672 LUE.tae72 L80 odie, Allegretto grazios Tee P oF a decresc, adecrese. decrese, P UE. 14672 LU.Eas72 LFa piacere + Bn Cont Sennett Mercere Mercere Mercecs Meee icrcre P = = = jin RRs 2 it f f ties —_ ole & z tte: A = 7 betetet E te by “UE. WeT2L oer83 Allegro agitato J= 50 F ate SS teas mf P egos kelisacteceesteccs "poco a poco cresc. FEN ELE ER RE eS eee St ieee Peer U.E.t4672L‘erese, ite. eee tf 7 —— = f in tele, tes : _spiata tte = P = ees 1 f P sa acon (CEE Ee Fie orese. — dim. U.B.tn672 L7 ety SE te eS P poco a poco accel. atenpo “Rp ice ptko nf con tutta la forsa U.EWae72 L86 ‘Allegro con fuoce 4.-84 7 50 f PAs =a 4 P Recitativo P Recitativo \ eS i SI face « poco accel im Tempo L f 4 ‘sempre staccato ectee ee - efe =a (et U.B.sa872 Loy po po fe it WE, 14672 L