Content: I. - Moderato - Menuet (Menuetto-Op.101) - Adagio - Presto II. - Moderato - Menuet (poco allegretto) - Adagio - Allegro di molto

Content: III. - Andante grazioso - Menuet / Allegretto - Adagio - Allegro di molto IV. - Moderato - Menuet / Allegretto - Adagio cantabile - Finale Allegro

Content: V. - Moderato - Menuet / Allegretto - Adagio - Finale Presto VI. - Presto - Menuet - Largo - Finale Allegro

Anton Bernhard Fürstenau (1792-1852) belonged to the middle of three generations of flautists and performed in public as a boy of seven. In the years 1803-1818, he accompanied his father and teacher Kaspar Fürstenau on his many concert tours through Germany and Europe. Later he also gave concerts alone or with his son Moritz and enjoyed a high reputation, which, according to contemporary judgement, made him ‘ if not the most excellent, then undisputedly one of the most excellent ... flutists ’. In 1820 Fürstenau moved to Dresden and found a position with the court orchestra conducted by Carl Maria von Weber. A lasting friendship developed between the two artists and when Weber died in London in 1826, Fürstenau was at his deathbed. The musical œuvre of the flute virtuoso can be divided into 3 groups: - works mainly for his own use - didactic works (technical studies, 2 notable flute schools) - chamber music (duets, quartets, quintets, operas with trios for 3 flutes) A thorough study of his compositions and his ideas on music and their realisation on the flute should be worthwhile for every flutist, even today. Content: - Allegro non tanto - Andante - Rondo | Allegretto

Mozart's favourite instrument was not the flute. This is generally known and can be seen from the fact that he only dedicated four chamber music works to it, namely the four quartets for flute, violin, viola and cello. Even the ‘flute sonatas’ - the early sonatas Opus 10, 11, 12 and 13 - which have been available in print for some time, are merely arrangements of sonatas for piano and violin. At that time, the term ‘piano’ meant the harpsichord. It was not until around 1780 that ‘piano’ generally meant the fortepiano. In the manuscript of the Sonata in B flat major K. 378, composed in 1779, Mozart still explicitly specified the harpsichord. It was published in 1781 as part of the second series of 6 sonatas for piano and violin, whereby the order of the instruments mentioned is typical for this period: The piano is the main carrier of the musical action and is accompanied by the melody instrument. Mozart composed 35 sonatas for this instrumentation, but not a single one for flute! In order to give flute players the opportunity to play works by Mozart with piano, this violin sonata was chosen for an arrangement. The work is well suited to the flute, so that no major changes had to be made to adapt the violin part to the technical requirements of the flute. Even the original key (B flat major) could be retained. All the dynamic markings and articulation indications contained in the original text were retained, only the legato slurs in the violin part were altered in some places for the flute. Both dots and wedges as well as intermediate forms indicate the staccato in Mozart. For the facilitate reading, standardised dots have been used in this edition. The dynamic indications in the piano part are not given for each hand individually, as is the case in Mozart's manuscript, but for both hands together, provided they are the same for both hands.This edition enriches the repertoire of flautists with a valuable musical work and brings joy to all players. Content: - Allegro moderato - Andantino sostenuto e cantabile - Rondeau / Allegro

33 Advent and Christmas carols in easy movements for piano and accompanying instruments: The selection offers simple two- to four-part piano movements, which can be enriched by melody instruments and extended by low accompaniment parts. A certain number of movements are played without piano. Contents: - Alle fangt an, wer singen kann - Als ich bei meinen Schafen wacht' - Der Morgenstern ist aufgedrungen - Erfreue dich, Himmel - Es kommt ein Schiff - Es ist ein Ros' entsprungen - Fröhlich soll mein Herze springen - Freu dich Erd und Sternenzelt - Grünet, Felder, grünet, Wiesen - Gebor'n ist heut' eine Kindelein - Ihr Kinderlein, kommet - Ich steh' an deiner Krippen hier - In dulci jubilo - Inmitten der Nacht, als Hirten erwacht - Joseph, lieber Joseph mein - Kommet, ihr Hirten - Lasst uns das Kindlein wiegen - Lieb' Nachtigall, wach' auf - Lobt Gott, ihr Christen allzugleich - Maria durch ein Dornwald ging - Macht hoch die Tür, die Tor macht weit - O du fröhliche - O Heiland, reiß die Himmel auf - O laufet, ihr Hirten - O Tannenbaum - Schönstes Kindlein in dem Stalle - Stille Nacht, heilige Nacht - Still, still, still - Vom Himmel hoch, da komm' ich her - Vom Himmel hoch, o Englein kommt - Tochter Zion, freue dich - Was soll das bedeuten - Zu Bethlehem geboren

Die für Sopransaxophon in B, Altsaxophon in Es, Tenorsaxophon in B und Baritonsaxophon in Es geschriebenen drei Choräle stellen ein klangvolles Musiziergut dar. Ob aus Freude am gemeinsamen Spiel oder zur Bereicherung bestimmter Anlässe, die Kompositionen von Reinhard Huuck werden ihre Wirkung nicht verfehlen.

Die vorliegende Ausgabe ist die erste Edition der Wendling-Duette, die in Partiturform erscheint.

für ein Orgelwerk, KV 594