Flute Cadenzas
depict the hero leaping over the wall (by a very rapid diatonic run from G′ to G′′). In "The Ride" the piccolo is used most effectively. In this work we also find a very elaborate cadenza, written, strange to say, for the second flute accompanying the voice.[1]
Grieg in his Peer Gynt Suite, No. 1 ("Morning"), has a quiet passage for solo flute, and later on in the same piece he writes gracefully forGrieg two flutes in thirds. In Olav Trygvason he uses two piccolos in thirds along with a flute in some effective chromatic runs, whilst in accompaniment
Grieg, Peer Gynt.
![\new Staff \with {
instrumentName = "FLUTE."
midiInstrument = "flute"
} \relative c'' {
\key e \major
\time 6/8
\tempo "Allegretto pastorale"
b'8(\p gis fis e fis gis)
\autoBeamOff
b([ \grace {gis16[ a]} gis8 fis] e[ fis16 gis fis gis)]
\autoBeamOn
\grace {gis16 a} b8(\< gis b) cis(\> gis cis)\!
b( gis fis e4) r8
}
\layout {
indent = 2\cm
}](http://upload.wikimedia.org/score/i/q/iqddn4kg3eks1sgoce9oxveunqeytd2/iqddn4kg.png)
to his song Henrik Vergeland he assigns to the piccolo only four notes: the piccolo player here certainly earns his fee easily! In his Second Suite ("Danse Arabe") Grieg used two piccolos with drum and triangle.
The modern school of French composers make great use of the flute, frequently writing for it passages of165
- ↑ Cadenzas on the flute are always remarkably telling; in addition to several already referred to, I might mention those in Boieldieu's Dame Blanche and in Listz's Hungarian Rhapsody, No. 2. Probably the longest flute cadenza in any work is that in an opera, entitled The Flautist, by Kling. It extends over a page.
