Taken from the “Messiah”, this flute solo with piano is essentially a transcription of the original work. The balance in the writing between the solo and the accompaniment gives way to the sensitivity of the text of this well-know aria..

A solo that is joyous and exhuberant expressing the finding of the Savior, followed by a tender expression of thoughtfulness and pondering. The final sections of this joyous piece breaks into a flurry of rapture ending on a high note of praise.

This flute solo with piano, this piece is written in march style displaying great resolve. The central sections present new thematic material followed by modified titled hymn materials giving a sense of unity to the piece. It ends with a solid flourish.

A piano introduction begins in a vigorous manner and is then joined with the soloist in a brilliant manner of a decorated melody. Coming to the chorus the solo is more fluid and expressive. After a modulation the soloist is offered an opportunity to express the tune with a great deal of flair. The middle section is slower in a thoughtful presentation. The final section regains the flair of the earlier sections and ends on a final long note of resolve.

A rather jovial introduction is begun by the piano and then joined in by the soloist stating the melody’s verse and then the chorus in a modified form. The second verse is presented in a pleasing way underpinned by the piano using a harp-like accompaniment. And once again, the chorus is presented in a even more modified way. The coda section continues with the flavor of the piece in a motivic manner and then arrives to the final destination in repose.

A solo for flute with piano accompaniment. After a brief introduction the flute presents the theme in traditional fashion. A first variation takes the melody in a duple fashion displaying the melody on the beat. The second variation does much the same only using triplets for the rhythmic movement. The Coda section is slower and more expressive leading up to a solid conclusion.