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Fugue in E-Flat Major (J.S. Bach) – Flute Choir
“The triple fugue … is a symbol of the Trinity. The same theme recurs in three connected fugues, but each time with another personality. The first fugue is calm and majestic, with an absolutely uniform movement throughout; in the second the theme seems to be disguised, and is only occasionally recognisable in its true shape, as if to suggest the divine assumption of an earthly form; in the third, it is transformed into rushing semiquavers as if the Pentacostal wind were coming roaring from heaven.” ~ Albert Schweitzer
The Fugue in E-Flat Major (BWV 552) has become known in English-speaking countries as the “St. Anne” because of the first theme's resemblance to the St. Anne hymn O God, Our Help in Ages Past, a hymn that would have been unknown to Bach. A fugue in three sections of 36 bars, 45 bars and 36 bars, with each section a separate fugue on a different theme, it has been called a triple fugue, although only the first theme is combined with the second and third themes; for that reason the second and third sections are sometimes referred to as double fugues. The number three is pervasive and has been understood to represent the Trinity. The description of Albert Schweitzer follows the nineteenth century tradition of associating the three sections with the three different parts of the Trinity. The number three, however, occurs many other times: in the number of flats of the key signature; in the number of sections; and in the number of bars in each section, each a multiple of 3 x 3. Each of the three themes of the fugues seems to grow from the previous ones.
Written for organ, the ranges of each of the five fugal voices works well for flute choir. Articulations and minimal dynamic suggestions have been added to honor the music, to make it sound as it would have sounded if the fugue were conceived for these modern instruments.
Composer: Anne McGinty
Instrumentation: Piccolo, 4 C Flutes, Alto Flute & Bass Flute
Duration/# of Pages: ca. 5:30 / 35 pages, 8.5″ x 11″
Key: Eb -
Fum, Fum, Fum – Bassoon Quartet
This Catalan carol may date back to the Renaissance, but this arrangement is fresh and joyful. The title, pronounced foom, foom, foom, represents the sound of strumming a stringed instrument.
Composer: Bill Reichenbach
Instrumentation: Bassoon Quartet
Duration/# of Pages: ca. 1:40 / 16 pages, 8.5″ x 11″
Key: Dm-Fm-Dm -
Fum, Fum, Fum – Clarinet Quartet
This Catalan carol may date back to the Renaissance, but this arrangement is fresh and joyful. The title, pronounced foom, foom, foom, represents the sound of strumming a stringed instrument.
Composer: Bill Reichenbach
Instrumentation: 3 Clarinets & 1 Bass Clarinet
Duration/# of Pages: ca. 1:40 / 16 pages, 8.5″ x 11″
Key: Gm-Bbm-Gm -
Fum, Fum, Fum – Flute Quartet
This Catalan carol may date back to the Renaissance, but this arrangement is fresh and joyful. The title, pronounced foom, foom, foom, represents the sound of strumming a stringed instrument.
The flute quartets can easily be expanded to flute choir by adding both alto and bass flutes. The Alto Flute part is included and the bass plays Flute 4.
Composer:
Instrumentation: Flute Quartet
Duration/# of Pages: ca. 1:40 / 18 pages, 8.5″ x 11″
Key: Dm-Fm-Dm
