Concerto Spiritoso No. 1: Flute, Choir, Score and Parts

This work builds something special from two sacred musical traditions: the B-A-C-H cipher and the chorale 'Christ Lag in Todesbanden.' Rather than treating these as separate ideas, Nelhybel weaves them into variations that let a flute choir and voice explore different textures and character transformations. The Grade 5 writing is genuinely sophisticated without being forbidding, and programming it signals serious intent about both flute ensemble repertoire and spiritual depth.

The work carries both reverence and invention. The B-A-C-H theme and the chorale create an intellectual and spiritual scaffolding, but Nelhybel's variations animate them with different moods: sometimes contemplative, sometimes energetic, sometimes luminous. The addition of voice and harpsichord (or electric piano) creates a bridge between baroque sensibility and 20th-century orchestration.

This work speaks to flute choirs at the intermediate-advanced level and to ensembles seeking repertoire with real musical and spiritual substance. Conductors building a program that honors the flute choir's chamber capabilities and wants to move beyond purely technical or lighthearted showpieces will find this an intelligent choice.

• Balance the dialogue between flute choir and solo voice carefully; neither should dominate the textural landscape. The accompaniment (harpsichord or electric piano) anchors both parts, so lock that together first.
• Study the specific character each variation asks for. The B-A-C-H material and the chorale lines will demand different articulation, phrasing, and dynamic approach from your flute section.
• If performing with voice, rehearse the flute parts and vocal line independently before combining. The rhythmic interplay requires clarity about who leads in each section.
• Pay close attention to voicing within the 12-flute section. The partwriting likely uses multiple flute doublings; balance across the ensemble so inner voices carry weight when the piece calls for it.

This piece works beautifully as an anchor for a concert that explores sacred music across centuries or as a centerpiece for a flute choir feature concert. It pairs naturally with other chamber works for winds and also serves as a sophisticated choice for a concert program that balances technical display with artistic depth.

• Balancing ensemble sonority within a 12-member flute section
• Navigating variations on recognizable themes
• Responding to subtle textural changes across multiple related sections
• Coordinating with vocal and keyboard accompaniment
• Executing Grade 5 flute technique across multiple articulations and registers