Composed by the Czech composer Bohuslav Martinü in 1927  La Revue De Cuisine is a ballet initially created for a sextet. This score was reviewed and tailored for an Orchestra. This ballet talking about the life of kitchen utensils is divided in ten sections: 1. Prologue (Allegretto) 2. Introduction (Tempo de marche) 3. Danse du moulinet autour du caudron (Poco meno) 4. Danse du chaudron et du couvercle (Allegro) 5. Tango (Danse d'amour. Lento) 6. Duel (Poco a poco allegro. Tempo di Charleston) 7. Entracte (Lamentation du chaudron. Allegro moderato) 8. Marche funèbre(Adagio) 9. Danse radieuse (Tempo di marche) 10. Fin du drame (Allegretto) The story focuses on the marriage of the Pot and Lid which is put at risk by the Twirling Stick and the music features some strong jazz influences. Bohuslav Martinü(1890-1959) also wrote 13 other ballets 15 operas and 6 symphonies and some orchestral and chamber music. Instrumentation: Clarinet Bassoon Trumpet Violin Cello Piano.

from the ALL FOR ONE Sextet Combo Series-Here is a beautiful bossa which has the melody in the second part. An additional trombone part has been added so the second part can be played by tenor sax alto sax or trombone. This arrangement was originally written to feature Eric Alexander.

Par BORBOUDAKIS MINAS. Constellation by Minas Borboudakis is a 14-minute work for orchestra (4 Horns in F, Timpani, 3 Percussion, Strings – Sampler). 'The first version of Constellation for octet was written in 2002 when Gidon Kremer asked me to write a new piece for the sextet of the Kremerata Baltica during a series of performances of my works in his festival in Lockenhaus', says the composer. In the version for orchestra, glissandi spread out from a single note phrase by phrase. The four horns, placed stereophonically in pairs to the right and left of the conductor, create explosions of sound through repetitive lines and motivic escapades. The premiere took place on 7 January 2011 at the Tonhalle Zurich by the Tonhalle-Orchester Zurich under the baton of Constantinos Carydis. The score (EP 12575) is available for sale as part of the Peters Contemporary Library. The performance material can be hired. / Date parution : 2022-09-07/ Répertoire / Orchestre

Version 1. Par FELDMANN WALTER. «sexe-tuor» was originally a failed attempt to compose a solo oboe piece for my noyé cycle. For the solo the name 'le sexe du noyé' was intended, and the few measures of sexe-tuor were my first attempt to compose a piece in which more complex rhythms would result in a kind of proportional multiplication of individual fragments from the sextet [hence the French sextuor] le retour du noyé. This proved to be monstrously complicated and absurd. Thus, the ten measures of the «sexe-tuor» fragment represent a capitulation in the face of these complications, presented as the interruption of an immovable column of air in a frozen multiphonic sound. In the event, the solution to the problemwas quite simple: Beginning with the composition of le sexe du noyé the proportionalities of the pitch levels and rhythmic values revealed significant rhythmic possibilities. sexe-tuor remains as it is: a solo piece that can function in another compositional context, as an intermezzo between other, larger works on a concert program. The 90 second piece of music can be played in two versions: either for solo piccolo or solo oboe./ Répertoire / Hautbois

Ballet héroïque in a prologue and 3 acts-With a brief foreword (Fr/Eng) containing salient information on the genesis of the work the synopsis and the edition. Les F?tes de l?Hymen et de l?Amour was performed on 15 March 1747 on the occasion of the second marriage of the Dauphin Louis Ferdinand de Bourbon and Maria Josepha of Saxony in the Man?ge de la Grande ?curie in Versailles. This second collaboration between Rameau and Cahusac makes use of the ?ballet h?ro?que? genre usually known today as ?op?ra-ballet? based on various story lines which run independently of each other. The score is based on a libretto inspired byEgyptian mythology and freemasonry. Rameau's ?Les F?tes de l'Hymen et de l'Amour? was long considered second-rate because its premi?re was associated with a political event. Yet this ballet abounds in novel dramaturgical effects that foreshadow his later operas such as ?Za?s? ?Zoroastre? and ?Les Bor?ades?. Working together with his librettist Cahusac Rameau sought to weave the dance numbers choruses and stage machinery more tightly into the main plot. He also experimented with stylistic devices unique to this work the most famous being unquestionably the scene in which the Nile overflows its banks (an impressive ten-voice double chorus with solo voices and orchestra) and the sextet from ?Aru?ris? a scoring found nowhere else in his ?uvre. For the first time this scholarly-critical edition of ?Les F?tes de l'Hymen et de l'Amour? presents a reference version of the work that is based on all the major sources for both the libretto and the music including two recent musical discoveries. As most of the performance material for the premi?re has vanished this edition is based on the version prepared for the Acad?mie Royale de Musique in 1748.

Three Celebratory Pieces-Three celebratory pieces commissioned originally for a wedding arranged here for Wind Quintet by the composer. Duration: approx 10 minutes. Ideal for the signing of the register.Originally written for Wind Sextet and published in 1989 as 'Fanfare Romance and Jig'.

For SATB Choir Organ (or Piano) and optional Brass Sextet. Brass Parts available: GS80102

Masques was composed by Danish composer Ole Buck in 1969. Masques was written for a Percussion sextet.

Around 1800 Beethoven seems to have completely distanced himself from chamber music for wind. In letters to his publisher we read that he did not have any particular regard for his Septet op. 20 and the Sextet op. 71; furthermore he did not write any new works for wind ensembles.By contrast he ennobled his Trio op. 87 originally for two oboes and cor anglais by making an additional version for two violins and viola. This charming work ispublished following the Urtext in the Beethoven Complete Edition and is a welcome addition to the repertoire for these instruments for which a great deal has not otherwise been composed.

Davies discovers aspects of himself in examining one of his most troubled predecessors. That discovery can take place either on his home ground (in the mezzo-soprano version writen for The Fires of London) or with chorus singingGesualdo's O Vos Omnes and repeatedly falling silent so that the musical argument may continue on a different plane that of Davies's four meditations for sextet murmuring darkly about Gesualdo's ideas. The viola doublesthe violin and the glockenspiel doubles the marimba. The harpsichord is doubled by the celeste chamber organ or harmonium. Duration c. 20mins.