Groton Hill Flute Orchestra

Ancient Airs and Dances Suite 1: Passo mezzo e Mascherada
Ottorino Respighi (1879-1936)
arr. Paige Dashner Long

Italian composer Ottorino Respighi was fascinated with early lute music, studying several from the 16th and 17th centuries. In 1917 he arranged a grouping of these pieces applying modern harmonies and orchestrating it for chamber orchestra. In 2010, large-flute enthusiast Paige Dashner Long arranged the final movement of the first suite for flute orchestra. We hope you enjoy the Passo mezzo e Mascherada from “Ancient Airs and Dances Suite 1.”

Jig from St. Paul’s Suite
Gustav Holst (1874-1934)
arr. John E. Davis

The “Jig from St. Paul’s Suite” was also originally written for chamber orchestra. The English composer Gustav Holst wrote it for the students at the St. Paul’s School in Hammersmith, London, where he served as director of music for nearly three decades. Jigs are described as quick, lively dances in 6/8 time. Holst plays a bit with this idea frequently shifting between 6/8 and 9/8 time as well as bringing the listener through a couple of changes of key.

Precipitation to the Dance
Jonathan Cohen (b. 1954)

This original work for flute orchestra was written by American composer Jonathan Cohen. In addition to being a wonderful composer and low-flute enthusiast, he holds a Ph.D. in electrical engineering. Of his work the composer writes: “Precipitation to the Dance” sketches the start of a skier’s powder morning–that rare moment that skiers live for. In the first scene, it is night, and the snow falls peacefully, gloriously, and lyrically. With little transition, the second scene describes the smooth beauty of the snow as seen from the rising lift: the white, slow undulations over the land and the heavy tufts on the tree limbs. Anticipation finally gives way to the third scene, when the skiers leap from the lifts and dance through the powder in a rollicking jig that includes jumps, turns, and a triumphal return to the mountain base.

Pasquinade
Louis Moreau Gottschalk (1829-1869)
arr. Anthony McDonald

Louis Moreau Gottschalk was known for his virtuosic piano playing and is credited with being America’s first internationally known composer having written over 300 works for piano. A New Orleans native, he often drew upon Creole and Afro-Hispanic influences combining these with the styles of the great piano composers of his day like Chopin and Liszt. Written around 1869, “Pasquinade” is a light, dance-like caprice. The opening rhythm–two light steps followed by a heavy, longer step is that of a gavotte. The later syncopated theme foreshadows the style that eventually will become ragtime.

Rhumba
Michael Coolen (b. 1946)

The rumba originated in Cuba where the enslaved people from Africa combined the polyrhythms of their heritage with Spanish folk music. The result was a danceable music native to the island. It eventually became popular in the United States and evolved to fit the format of ballroom dancing, and the resulting fusion style was known as “rhumba.” We hope you will enjoy this take on the Rhumba by Michael Coolen.

Three Slavonic Dances

No. 7 in C minor, Skočná
No. 2 in E minor, Dumka
No. 8 in G minor, Furiant

Antonín Dvořák (1841-1904)
arr. Shaul Ben-Meir

Dvořák’s “Slavonic Dances” are a series of sixteen orchestra pieces composed in 1878 and 1886. These lively, nationalistic pieces were well received at the time and are still considered favorite works of this composer. Skočná is a rapid Slavic folk-dance, usually in duple time. It can also be heard in the Czech composer Smetana’s “The Bartered Bride.” Dumka is a Slavic epic ballad, generally thoughtful or melancholic in character. The Furiant is a rapid, fiery Bohemian dance with frequently shifting accents. Shaul Ben-Meir arranged these three Slavonic Dances for flute orchestra in 2011.

Pavane
Gabriel Fauré (1845-1924)
arr. Shaul Ben-Meir

Written by French composer Gabriel Fauré in 1887 originally for piano, this work is better known from the version for orchestra with optional choral parts. It premiered in Paris in 1888 and has become a favorite work of  Fauré. Its rhythm comes from the slow, processional Spanish court dance of the same name. Arranged for flute orchestra in 2011 by Shaul Ben-Meir.

Spanish Polonaise
Grant Horsley (b. 1952)

The Polonaise is a moderate tempo, Polish dance in triple meter from the 18th century. It is a stately dance performed by couples as they process around the dance hall. British pianist, composer, and educator Grant Horsley has shared his take on this genre with his 2022 composition for flutes “Spanish Polonaise.” Listen for the characteristic polonaise rhythm of an eighth note and two sixteenths, followed by four eighths.

Salsita
Victor Rojas

“Salsita” is an energetic and vibrant Venezuelan composition for flute choir by Victor Rojas, the director of the National Flute Orchestra of Venezuela. Composed in 1997 for performance at the National Flute Association Convention in Chicago, the rhythmic ostinatos give energy and momentum, and a few special effects add to the character of this piece based on rhythms of the Caribbean. Towards the end, listen for special effects made by using just the headjoint and also through unusual tonguing. We hope you enjoy “Salsita.”

Sellenger’s Round
William Byrd (1543-1623)
arr. Bruce Behnke

William Byrd was a prolific composer who bridged the Renaissance and Baroque eras. Sellenger’s Round is an English country-dance especially popular in the late 16th century. It is found in John Playford’s 1651 book “The Dancing Master” which contained the melodies and dance instructions for just over 100 English country dances. Sir Anthony St. Leger saw this dance in Ireland, in 1540. Upon retiring from his post in 1548, he brought the dance back with him to England. Its popularity was so great that it was arranged by the famous master William Byrd. St. Leger–which was presumably pronounced Sellenger–gave his name to the tune that he had collected.