arranged for Pianoforte and String Quintet-Concerto for Pianoforte and Orchestra No.4 Op.58: arranged for Pianoforte and String Quintet.Piano Violin (2) Viola (2) Violoncello.This anonymous sextet arrangement of Beethoven’s Fourth Piano Concerto was highly popular in Vienna during the composer’s lifetime. We know this from at least two sets of handwritten parts which were then in circulation.No Piano part has been handed down; indeed the original sets of parts probably omitted the Piano.The soloist presumably studied his part from the first edition of the solo part published with the original performance material in 1808. (The full score did not appear until 1861).The sextetversion deftly integrates the original wind parts into the string texture. The arrangement stands in the tradition of Piano reductions with chamber music accompaniment of the sort which were also made for Mozart’s Piano concertos K.413 to 415 and later for the Chopin concertos.This Urtext edition edited by the renowned Beethoven scholar Jonathan Del Mar presents this arrangement for the first time in print. The musical text is supplemented by an informative Introduction and a Critical Commentary.First ever publication of this arrangement.Includes a separate solo part as was customary in Beethoven’s day.Provides new possibilities for soloists to perform this work.

John McCabe's Nocturnal For Piano Quintet was composed in 1966 commissioned by the Park Lane Group London and first performed by the Lancaster University Ensemble. Duration: Approximately 13 minutes. Composers Note:  The title of this work is a reference to John Donne's poem A Nocturnal upon St Lucie's Day the mood of which is reflected in the quintet. It falls into several movements played without a break: Introduction (Andante) setting forth the main thematic ideas of the music; Nocturne 1 (Allegro vivo) an agitated virtuoso scherzo-like section; a tripartite central part of the work consisting of two Cadenzasframing a brief Interlude the first Cadenza being largely for strings the second mainly for piano and the Interlude harking back to the feeling of the Introduction; Nocturne 2 (Andante molto) a slow piece gradually building to a unison theme on strings accompanied by a tolling piano background. This dies down to lead to an Epilogue ending with a final reference to the work's opening bars. 

Piano Quintet in A major op. 81. Very few really important works have been written for piano quintet ? alongside the famous works by Schubert, Schumann und Brahms, the quintet that Antonín Dvorák composed in 1887 certainly numbers amongst them. It shows the mature master at work, who knew how to combine formal unity with melodic ingenuity and sweeping rhythms. With its ethnic-inspired themes the piano quintet has become one of Dvorák?s best-loved chamber music works, indeed even of Romantic literature in music. So it was high time for a Henle Urtext edition ? 60 years after the Czech Complete Edition was published, it was time for a fresh look at the sources, including the autograph in the National Museum in Prague.

Op. 34-Bärenreiter?s scholarly-critical edition of Brahms? popular Quintet in F minor for piano and strings contains everything a cutting edge Urtext edition is meant to offer. It presents a solid and well researched musical text based on Brahms? autograph as well as the first edition and draws on the autograph of the two-piano version (composed six years later) for purposes of comparison. The edition also contains a discussion of the work?s historical context and performance practice as well as a comprehensive Critical Commentary with an evaluation of the sources and alternative readings.The editor Daniel Boomhower deals with the conflicting readings between the stringparts in the autograph engraver?s copy and those found in small print in the first published score as well as in the separate parts for that edition. Relevant readings from the two-piano version appear in the appendix of the Critical Commentary.New Bärenreiter Urtext editionExhaustive study of conflicting readingsNotes on performance practice (Eng/Ger)Informative Foreword (Eng/Ger) and Critical Commentary (Eng)

This work composed in 1878/79 alternates between chamber music intimacy and symphonic opulence and marks the beginning of a series of significant late works by César Franck. Its composition was partly prompted by the successfulperformance of Franck?s youthful piano trios at the ?Société nationale de musique? (founded in 1871) and probably also by a composition competition for works using this instrumental combination whose deadline Franck then went onto miss. The Quintet was received coolly at its first performance in January 1880 and it was performed just a few more times during the composer?s lifetime. It was only in the 20th century that audiences and critics came torecognise this work as a major milestone in the history of French chamber music and it now adorns the Henle catalogue in a new Urtext edition.