Don Pasquale (nocturne). (Woodwinds).

Don Pasquale (nocturne), by Gaetano Donizetti and arranged by Francois Nerini. Editions Henry Lemoine, distributed by Theodore Presser Co., (588 N. Gulph Rd., King of Prussia, PA 19406), 2000. 3 pp. flute, 2 pp. piano; $10.95. Intermediate.

Francois Nerini has cleverly captured the essence of the touching duet between Norina and Ernesto from the Third Act of Donizetti's Don Pasquale in a lovely duet for flutes with piano accompaniment published by Theodore Presser. Many flutists are familiar with this version of the duet that was included in Tone Development Through Interpretation by Marcel Moyse. His arrangement is similar to Nerini's in that the original vocal lines are transcribed almost verbatim; however, Moyse placed his transcription down a half step from the original A major and switched the vocal lines to place the higher sounding voice in the first flute part, while Nerini retained the original key and voicing structure.

When evaluating the varied teaching possibilities of this duet, several ideas are considered. The range of the duet is excellent for intermediate flutists (first octave G sharp to second octave A). The time signature and rhythms may be confusing at first; however, the repetitive nature of this aria lends itself to the practice of previously unknown rhythms. The voicing may at first be confusing for intermediate flute students because beginning and early intermediate flute duets invariably voice the second flute below the first flute. An explanation of the original voicing (tenor sounding an octave below the soprano) will provide sufficient rationale, as well as perhaps the opportunity for a short discussion of vocal technique.

When comparing the transcription to the original score, a few inconsistencies are noted. Some of these editorial decisions are helpful to young flutists, who often need assistance performing the more musical elements of duets. For example, the dynamic range in the original score is pianissimo to piano; however, Nerini has provided a more realistic set of dynamic markings for intermediate flutists. Other editorial changes seem somewhat careless. These many editorial changes include alterations in dynamic contrasts, tempo indications and rhythm. The omission of two of Donizetti's rallantando markings is puzzling. The most noticeable discrepancies are measure 19, where a ritardando is in ...