Sonatine Op. 388 No. 5

COMPOSITEUR: Wilhelm Popp
ÉDITION MUSICALE: Spartan Press
TYPE DE PRODUIT: Recueil avec parties séparées
INSTRUMENT GROUP: Flûte Traversière
Susan Milan discovered the charming Popp Sonatinas Op. 388 while researching 19th century flute repertoire in the British Museum Library. These beautifully crafted works are all, without exception, a delight to play and suitable for a broad level of player. They are a lovely example of Classical
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Spécifications
Compositeur Wilhelm Popp
Éditeur Susan Milan
Édition musicale Spartan Press
Instrumentation Flûte Traversière et Piano
Type de produit Recueil avec parties séparées
Instrument Group Flûte Traversière
Année d'édition 2017
ISMN 9790579984450
Nombre de pages 15
No. SP1445
Release Date 21-11-2017
Description

Susan Milan discovered the charming Popp Sonatinas Op. 388 while researching 19th century flute repertoire in the British Museum Library. These beautifully crafted works are all, without exception, a delight to play and suitable for a broad level of player. They are a lovely example of Classical style and detailed in a way that makes them a joy to perform and as they are less than 10 minutes long, they are a perfect addition to a short recital programme.

Wilhelm Popp studied with the great Louis Drouet in the 1850's and wrote many charming works for the flute, this among them. Susan Milan, acclaimed soloist and teacher, has edited this elegant edition.

SusanMilan writes....
'I discovered the charming Popp Sonatinas Op. 388 while researching 19th century flute repertoire in the British Museum Library. They were first published in Hamburg in 1888. These beautifully crafted works are all, without exception, a delight to play and suitable for a broad level of player. They are a lovely example of Classical style and detailed in a way that makes them a joy to perform and as they are less than 10 minutes long, they are a perfect addition to a short recital programme. In editing the Sonatinas I have tidied some of the articulation, making the flute part consistent. Discrepancies between markings in the flute and piano part have been corrected. I have occasionally added some slurs where I feel the lyrical nature of a section might be enhanced, shown as 'dotted' slurs. Where staccati appear to be missing, I have added them. I have not on the whole added expression marks. I have not changed or removed original markings.'

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