Gamal Abdel-RahimRaqsat Isis (Dance of Isis)

The ensemble of flute and harp work perfectly in this unusual and beautifulwork that evokes the sounds of ancient Egypt with Abdel-Rahim’s exotic harmonies based on Arabic music modes (maqamat). A technically challenging recital work by Egypt’s leading art music composer of the 20th Century.

Suited for:


For Flute and Harp, 5 minutes.
FL-0176 . . . $28.00

Abdo DagherFan el-musiqä el-misriyya el-hadithah el-’arabiyyah es-sufiyyah

(The New Egyptian-Arabic Sufic Art Music)

A volume of six (approximately 5 minutes each) expressive, fully transcribed compositions by Egyptian violinist/composer Abdo Dagher, master virtuoso in the traditional art of monodic (non-harmonized) Arabic music. The pieces include Layali Zamaan (Nights of the Past), Longa Nahawand, An-Nil (The Nile), Nidaa’ (Call to Prayer), Longa ‘Agam, and Sama’i Kurd Yakaa (10/4 meter). These melodic compositions will give Western classical musicians an understanding of Arabic music, including ornamentation, microtones (sikha), modes (maqamat) and rhythmic patterns (wazn). They may be performed as unique solo recital pieces or in chamber music settings with completely flexible instrumentation, including optional improvised cadenzas (taqasim). Optional percussive rhythmic patterns may be added with Arabic or Western percussion; all versions include both Arabic and Western percussion notation.

Suited for:


For C treble clef instrument - (Flute, Oboe, Keyboard, Harp or Guitar), 30 minutes.
C-0180 . . . $20.00

Claude DebussyPrélude à l’après-midi d’un faune

A must for all flute/harp duos, this arrangement by harpist Judy Loman (Toronto Symphony) takes the flute part from Debussy’s original version of Prelude to the Afternoon of a Faun, with the flute carrying more of the melodic material than in the orchestral version. Described by Jeanne Baxtresser (New York Philharmonic, former principal) as an “absolutely gorgeous arrangement that brings the flavor of the orchestral version into the chamber setting,” Ms. Baxtresser has recorded this piece on Cala Artists’ Legends of New York (CAD0512) with harpist Sarah Bullen (Chicago Symphony).

Suited for:


For Flute and Harp, 10 minutes.
FL-9602 . . . $32.00

Erik Satie — Gnossienne No. 1

A transcription by David Jolley as recorded on his solo album, Villanelle – French Masterworks for Horn (Arabesque Z6678). Satie’s popular “dance of ancient Knossos, on Crete,” originally for piano, works beautifully for solo horn and harp (or piano). Modal lines for the horn with colorful use of the mute, played against a very simple harp or piano accompaniment.

Suited for:


For Horn and Harp (or Piano), 5 minutes.
HN-9806 . . . $16.00

Justinian TamusuzaEkivvulu Ky’ Endere (An African Festivity for Flute)

One of Africa’s leading contemporary composers, Uganda’s Justinian Tamusuza considers this to be his best work, incorporating traditional African folk elements, minimalist techniques, polyrhythms and unique instrumentation with specific performance instructions to simulate a troupe of African musicians. The three sections of this challenging work are: Okwanjula Kw’ Endere (Introduction of the Flute) – a dramatic 7 minute solo flute soliloquy which may be performed separately as a solo piece, Okujaganya (Rejoicing) and Akayisanyo (Finale). May be performed with a conductor. A very unusual audience pleaser for recitals or chamber music programs.

Suited for:


For Flute, Viola, Harp, Marimba, Maracas, 23 minutes.
FL-9607 . . . $42.00

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