I thought it could be interesting to share with other members what pieces are you working at the moment. A mention of your level could help us beginners to relate pieces to skill.
To be fair, I post first:
My level: I'm beginning my fourth year of private study.
This year, to begin with, I have to study and play:
- several studies from Bántai-Kovács (lots of difficult octave changes)
- Scales, of course. Marcel Moyse Exercises Journaliers. Chromatic scale up to C4. Faster and faster...
- G. Faure's Berceuse Op 16
- Haydn Adagio et Presto
- A. Dvorŕk Humoreske
I must play one of those 3 pieces by memory (by end of lective year)
On my own:
Haendel HWV359b flute sonata op1 Nr 1b (The "Grave" movement, for the moment).
Haendel Hallenser sonaten 1 & 2. (complete)
I don't take lessons or anything (have BMus) but am playing Schubert intro and variations, taktakishvili sonata, a few paganini caprices, a few fingerbusters (mike mower) and tangoetudes (piazolla) in an upcoming recital (possible another flute/piano thing)
Re: What are you working on? 21:03 on Tuesday, October 03, 2006
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Nothing right now. I haven't picked up my flute in the past week because I have been too busy. I think that that is the longest I have ever went without playing. I finally have a break tonight, so I think I will get her out.
I moved my left thumb (on the flute--it's still on my hand --a good thing, overall, but feels a bit odd) and over-stretched my hands playing Bach and Scott Joplin. I'm playing Cavally "Melodious and Progressive" because it's familiar and my fingers feel wonky right now.
I did download a piece from Herbert Lindholm's website last week called "Minidrama 1." It's a lot of fun, but my son doesn't like it because I told him that it's him and his brother arguing. Lindholm has some interesting pieces on his site with mp3's (some synthesized, but some of one of his students). I don't have the extended techniques, yet, to play some of them, but they are fun to look at.
Along with the work at the orchestra, where we're doing some fine symphonies this year, like Mahler, Brahms, Schostakovich, and so on, I'm just preparing the Duo Concertante for Flute, Oboe and Orch. by Ignaz Moschelles. I and my friend collegue principal oboe will play this peace at Oct.31st.
On the same day, it will be played also a Concert for CounterBasson and Orchestra, written by another collegue who plays the French Horn at our orchestra.
Some chamber repertoire, for the purpose of doing recital, is the J.S.Bach E minor Sonata, Kuhlau Duos op.102 and the trio with piano (forgot op number...), Teleman B minor fantasy, Jacques Ibert Piéce Breve, Cesar Franck Sonata.
Zevang
<Added>
My mistake, that should have been "Jacques Ibert Piece perus Flute Seule"...
<Added>
Wow! What a day! "Piece peur Flute Seule". Sorry guys...
i havent had any time to actually sit down and work on any piece up to my standards, but my current "touch and go" project has been sonatine by dutilleux. i finished up danse de la chevre by honneger. that was fun and fairly simple and not too time consuming. also doing andante et scherzo by ganne. im almost done with that one... some andersen etudes op. 64 (only two more left! yeehaw).
talked to new flute teacher, SUPER EXCITED!! so whatever im wokring on now will probably be pushed off to the side once he gets ahold of me and tears my playing apart. kinda nervous, you know? i thought i was decent and now im to be working with one of the "big dogs". yes, it scares me to death. ill be like, one of the youngest students due to me being in high school and... AH!
recommendations from college professors suck.
Having been playing for just over a year, I'm working on some pretty basic stuff; lately "Hedwig's theme" from the Harry Potter movies, by John Williams. I'm starting on Mozart's magic Flute, (the bit by Papageno). Ombra Mai Fu by Handel (I think it's from Gulio Cesare but I could be mistaken). The theme from Dvorak's 9th symphony (good for tone development). Also various bits and pieces like Greensleaves, and some basic scales and exercises.
It's a wonderful aria (not necessarily when I play it though). I have a recording of it by Andreas Scholl.
The strange thing is that it sounds sad, until you read the lyrics, which are joyful:
Ombra mai fu
di vegetabile,
cara ed amabile,
soave piů.
Never was shade
Of dear and amiable
Vegetable
More sweet
You a re right! I think it could be a problem of the present interpretation of this old master. I had planned to sing this piece on the end of year "concert" (because it's easy for the singer and the music is so beautiful). But my colleagues in class said it sounded terribly sad and so I changed to something merrier...
searching...
I finally have a break tonight, so I think I will get her out.
--a good thing, overall, but feels a bit odd) and over-stretched my hands playing Bach and Scott Joplin. 
