piano, calling for thoughtful selection of which notes to omit in light of the flute part as well as the piano sound. On the other hand, the lower octaves played by the double bass are surprisingly essential, giving the piano an orchestral feel. Interestingly, going down to the low E of the double basses proves to be just right on the piano. We are fans of the alto flute, and we found that an arrangement of the Adagio from Symphony No.24 for alto flute that is mellower than that for flute, but also extremely beautiful, is obtained by lowering the pitch a minor third. A fourth would allow the alto flute to read the C-flute part directly but feels too low all around. Less than a minor third works for the piano but does not show the alto to greatest advantage. Haydn wrote many wonderful string quartets throughout his life. His early ones, especially the three sets of six written in 1768 -- 1771 (Opus 9, Opus 17, and the "Sun" quartets Opus 20), are generally considered to have advanced immensely the development of the classical string quartet. The flute can, of course, play the first violin part in string quartets, raising it an octave where necessary and finessing the double stops in some way, but string quartets usually have no need or reason to seek flutes for violin parts. Arrangement for flute and piano obviates this issue, however, and can work well when, for example, the first violin is