Click to view larger image “Aus Liebe Will Mein Heiland Sterben” (“Out of Love Will My Savior Die”) is Bach’s heart-rending aria for soprano and flute from his SAINT MATTHEW PASSION.  It foretells the journey to the Cross and would serve well at any Easter service, but its extraordinary poignancy should be welcomed on many other occasions too.  The clarinet carries the soprano part and some of the accompaniment while the flute weaves its solo obbligato all the way through. Click here to purchase

Click to view larger image The Adagio from Bach’s Sonata in G Minor for Violin, BWV 1020, allows both flute and clarinet an equal chance to float out its slowly rolling lines, at times beautifully together and at others with the clarinet moving alone while the flute floats above.  A great opportunity for subtle and lyrical ensemble playing. Click here to purchase

Click to view larger image The Adagio from Bach’s Concerto in C Minor for Oboe and Violin, BWV 1060, gives the solo oboe part to the clarinet while the flute takes the violin solo line.  A wonderful example of Bach’s marvelous alternating and interweaving of exquisite lines.  Gives a wonderful chance for both instruments to soar and shine. Click here to purchase

Click to view larger image The Andante from Bach’s Gamba Sonata in G Major, BWV 1027, which he also arranged for two flutes, gradually builds and builds in tension throughout as the clarinet and flute share the motif listlessly rocking back and forth until the last few bars when the clarinet breaks free to build up to the climactic moment on its long, long held note.  A real challenge in stretching out intensity from beginning to end so that it takes the listener on a journey of the extremes that such a simple, regular motif of four sixteenth notes can contain. Click here to purchase

Click to view larger image The Adagio of Beethoven’s first piano trio—full of grace and pathos—is expressively, rather than technically, demanding.  Arranged for flute and clarinet, which share the violin, cello, and piano lines fairly equally. Includes score and parts. Click here to purchase

Click to view larger image “A lyric prayer for Peace to the Moon Goddess.”  The famous, exalted soprano aria from Vincenzo Bellini’s opera Norma.    Click here to purchase

Click for larger view The great duet of Norma and Adalgisa from Act Two of Bellini's Norma, where the two priestesses are vowing eternal friendship while courageously facing their plight. The first section is an Andante with heart-rending thirds and sixths passages as they sing ". . . as long as in our breasts our loving hearts shall beat." And the second is a brilliant Allegro with a dashing, triumphant energy shared equally by both flute and clarinet "Together . . . we shall fight outrageous Destiny!" Click here to purchase

Click to view larger image “I think I still hear her voice hidden beneath the palm trees . . .” from Bizet's opera The Pearl Fishers is an ethereal tenor aria. Arranged for flute and clarinet, with the flute playing the aria and the clarinet alternately playing an undulating wave of accompaniment or joining the ravishing melody a third below.   Click here to purchase

Click to view larger image Also known as “Core’ngrato” (“Ungrateful heart”). The famous Italian love song by Savatore Cardillo.  Arranged for flute and clarinet, with the melody alternating between the two.  The flute has a chance to soar wonderfully in the high register.  Click here to purchase

Click to view larger image “Well then, I will go far away . . .”  The soprano aria from Catalani’s opera La Wally, (made extremely popular when it was featured in the 1982 French film, Diva). Arranged for flute and clarinet, with the flute taking the ethereal melody.   Click here to purchase

Click to view larger image “A secret tear welled in her eyes . . .”  The quintessential Italian aria. Gaetano Donizetti’s frequently performed tenor aria from his opera, L’Elisir d’Amore. Click here to purchase

Click to view larger image The famous “Mad Scene” and following aria from Gaetano Donizetti’s opera Lucia di Lammermoor. The peak of “bel canto” writing for soprano. Arranged for flute and clarinet, with the clarinet playing the arias while the flute doubles as both orchestra and the bird that joins Lucia in her ecstatic delirium. The long, thrilling clarinet and flute cadenza is based on the Callas/Marchesi rendition—a tour de force of partnered rubato playing. Click here to purchase

Click to view larger image The haunting slow movement from Dvorak’s “American” string quartet, which he composed in Spillville, Iowa where he summered with the Moravian community there when he was director of the New York Conservatory of Music from 1892-1895.  Arranged for flute and clarinet, it has an enchanted, Indian feel to it, and both instruments get to share the gorgeous themes equally. Click here to purchase

Click to view larger image The very popular Neapolitan song by Ruggiero Leoncavallo.  A favorite tenor encore. Arranged for flute and clarinet, with the demanding flute part supplying the ripples of the canal that bounce the gondola as the clarinet sings the captivating Italian love song. Click here to purchase

Click to view larger image “Oh Lola, with your skin white as the lily . . .”  The poignant tenor aria from Mascagni’s opera Cavalleria Rusticana.  Arranged for flute and clarinet, with the flute singing the soaring aria and the clarinet playing the jaunty accompaniment. Click here to purchase

Click to view larger image “Soave sia il vento . . .” (“Sweet breeze and tranquil waves . . .”  The delightful trio from Mozart’s opera Così Fan Tutte.  Originally for two sopranos and bass, with a flowing string accompaniment.  Arranged for flute and clarinet,  both parts combine equally to float the heavenly lines. There is also an alternate clarinet part provided written in Gb rather than F#. Click here to purchase

Click to view larger image "When at night in the serene light of a starry sky ”  The moving tenor aria from Verdi’s lesser known opera, Luisa Miller.  Arranged for flute and clarinet, with the clarinet taking the tenor part and the flute supplying the undulating accompaniment. Very challenging expression-wise for the clarinet, and endurance-wise for the flute. Click here to purchase

Click to view larger image The famous duet of Alfredo and Violetta from the first act of Verdi's LA TRAVIATA.  Alfredo ardently professes his love, but Violetta rejects the pain and torment of it, only offering friendship in return.  The clarinet has a wonderful chance for expressing the fullest rubato in Alfredo's opening solo, and the flute later dances and soars above it with Violetta's passionate response. The grandest of grand opera. Click here to purchase