SKU: P2.30083

Beethoven's Sextet for Two Horns and String Quartet, Op. 81b is a bit of an oddity in the composer's catalog. The sextet for the very old-fashioned instrumentation of two horns, two violins, viola and cello, is especially rare. The work seems to have been written around 1795, in the period when Beethoven was beginning to make his way in Viennese society as a composer and keyboard virtuoso after a period of study with Haydn. The work has the light-hearted, easy-going tone of the serenade/divertimento tradition, although the way that Beethoven writes for the horns makes the Sextet unusual. In this work, the horns are featured, with brilliant fanfares and technically challenging passages, while the four strings are relegated to a subsidiary role. In this arrangement, the Eb clarinet and a solo Bb clarinet play the role of the horns, while the rest of the choir assume the position of the string parts.

SKU: IS.CC7003EM

ISBN 9790365070039.

In 1941, I was invited by Viktor Vaszy to take on a choice double role, as a teacher of composition at the Cluj Conservatory as well as chorus master at the Cluj National Theatre. For me, this meant both an official state appointment and a substantial increase in my income. At the time I was over 35 years old and still without a permanent post. I took up my new duties at the end of the summer. My wife and I felt very much at home in Cluj but the most important for me was that along with my artistic obligations I found time to compose. Unfortunately we do not know why Farkas wrote in 1992 a new version of the Three Burlesques for clarinet quintet and for whom it was intended. The first movement Allegro, arc shaped, is more a succession of rhythmic patterns than melodies, with hectic ostinatos and staccato chords. In the middle of the movement, a short figure, like a second theme, brings a bit of calm and gentleness. The second movement, an expressive Moderato comodo and the final Allegro are shorter and also contrast with staccato chords.

SKU: AY.CC3680PM

ISBN 9790543577442.

Thomas Tallis composed Spem in alium nunquam habui around the year 1570 based on the Latin text from a response (at Matins for the 3rd lesson, during the 5th week of September) in the Sarum Rite, adapted from the Book of Judith. The first line translates as I have never put my hope in any other but in Thee, God of Israel. Originally scored for eight 5-part choirs, has been arranged here for clarinet choir by Matt Johnston. The 40 core parts for soprano and bass clarinets are provided in the set. Additional parts for E-flat Clarinet, Alto Clarinet, Basset Horn, Contralto Clarinet and String Bass are available upon request.

SKU: AY.CC3168PM

ISBN 9790543577480.

This Canzon was originally included as part of the collection Canzoni per sonare con ogni sorte di stromenti, a volume of 36 canzoni by 13 different composers, first published in 1608. The publisher, Alessandro Raverii, was based in Venice, and though he only printed music between 1606 and 1609, more than 50 of his volumes have survived until today. This Canzon à 16 for four SATB choirs, has been arranged here for clarinet choir by Matt Johnston. It can be performed as a clarinet choir or as a quadruple clarinet quartet.

SKU: AY.CC3672PM

ISBN 9790543576155.

Juan Gutiérrez de Padilla (c. 1590-1664) was a Spanish-born Mexican composer of the Renaissance period. Although born in Málaga, Spain, he moved to Puebla, Mexico in 1620, and was later appointed maestro de capilla of the Puebla Cathedral in 1628. This Ave Regina for double choir (SSAATTBB), has been arranged here for clarinet choir by Matt Johnston. It can be performed as a clarinet choir or as a double clarinet quartet.