By Tom Brown/Guy Shrigley. Arranged by David Lovrien. For saxophone sextet. Chamber music. As performed in the 1920's by the Columbia Saxophone Sextette. One-step. Full score and set of parts. Duration 2:49. Published by Lovebird Music.

By Kenbrovin/Kellette. Arranged by David Lovrien. For saxophone sextet. Chamber music. As performed in the 1920's by the Columbia Saxophone Sextette. Waltz. Full score and set of parts. Duration 3:07. Published by Lovebird Music. (119) Level: intermediate.

By Robert King. Arranged by David Lovrien. For saxophone sextet. Chamber music. As performed in the 1920's by the Columbia Saxophone Sextette. One-step. Full score and set of parts. Duration 3:02. Published by Lovebird Music. (118) Level: intermediate.

By Reviere. Arranged by David Lovrien. For saxophone sextet. Chamber music. As performed in the 1920's by the Columbia Saxophone Sextette. One-step. Full score and set of parts. Duration 2:42. Published by Lovebird Music. (121) Level: advanced.

For String Quartet, Clarinet and Piano. By Aaron Copland. (Set). Boosey and Hawkes Chamber Music. Size 8.5x11 inches. Published by Boosey and Hawkes.

By Ernst Von Dohnanyi. For piano, violin, viola, cello, clarinet, and horn. Set of Parts. Published by Faber Music.

By F. Henri Klickmann. Arranged by David Lovrien. For saxophone sextet. Chamber music. As performed in 1916 by the legendary Six Brown Brothers. Jazz rag. Full score and set of parts. Duration 2:25. Published by Lovebird Music. (117) Level: advanced.

By Antonin Dvorak (1841-1904). Edited by Jarmil Burghauser / Antonin Cubr. For string sextet (2 violins, 2 violas, 2 cellos). In a folder. Replaces H 2116. Set of parts. 12/12/12/12/12/12 pages. Published by Baerenreiter Verlag

By Johannes Brahms (1833-1897). Edited by Christopher Hogwood. For String Sextet. Set of parts. Op. 36. Published by Baerenreiter Verlag

By Johannes Brahms (1833-1897). Edited by Christopher Hogwood. For String Sextet. Study score (paperbound). Op. 36. Published by Baerenreiter Verlag

Brass Instruments

SKU: HL.14005043

Composed by Philip Glass. Music Sales America. Classical. Score. 12 pages. Music Sales #NOV120263. Published by Music Sales (HL.14005043).

8.25x11.75x0.063 inches.

Full score for Philip Glass's Brass Sextet.

Saxophone Sextet

SKU: SU.90920031

Composed by Julius Hemphill. Woodwinds, Saxophone, Woodwinds, Woodwind Ensemble. Saxophone Sextet. Score & Parts. Subito Music Corporation #90920031. Published by Subito Music Corporation (SU.90920031).

Book 1 contains scores and parts to 10 compositions by jazz master and leader of the World Saxophone Quartet, Julius Hemphill. Newly engraved edition. Edited by Marty Ehrlich.Julius Hemphill formed his Saxophone Sextet in 1989, composing new music for concert performances and his celebrated dance and theatre collaborations. The wide history of African-American music is heard in these pieces, all shaped by Hemphill's rich imagination and compositional acumen. The instrumentation is three altos with soprano doubles, two tenors, and baritone sax. The two volumes presented here mirror each other in the range of musical worlds Hemphill evoked as he explores the rich harmony and counterpoint possible with the six- saxophone choir. Also available: Book 2 (Cat. #90920032) Book 1 - CONTENTS 1. Otis' Groove 2. Opening 3. The Moat and the Bridge 4. Sweet D 5. Anchorman 6. At Dr. King's table/Ascension 7. Flush 8. Mirrors 9. Headlines 10. Spiritual Chairs Saxophone Sextet Composed: 1992 Published by: Subito Music Publishing.

Sextet

SKU: BR.PB-33002-07

Urtext. Composed by Eduard Franck. Edited by Nick Pfefferkorn. Chamber music; Softbound. Partitur-Bibliothek (Score Library). Romantic period. Study Score. Composed 1882/1884. 136 pages. Breitkopf and Haertel #PB 33002-07. Published by Breitkopf and Haertel (BR.PB-33002-07).

ISBN 9790004216927. 6.5 x 9 inches.

Eduard Franck's two string sextets, op. 41 in E-flat major, published in 1882/84, and op. 50, in D major, completed in December 1884 but published posthumously in 1894, fall mysteriously outside of their era. They are a significant addition to the rather concise repertoire for string sextet, joining the two works in this genre by Johannes Brahms. Eduard Franck was one of the very few private students of Felix Mendelssohn Bartholdy, who was himself a close friend of the Franck family, so that Eduard was firmly rooted in the Mendelssohn tradition. But what is particularly exciting in the sextets, is how he consistently further developed Mendelssohn's immanent genre-defining tendencies, thus founding a conservative alternative to the Schumann-Brahms course.

Sextet

SKU: BR.EB-32049

Urtext. Composed by Eduard Franck. Edited by Nick Pfefferkorn. Chamber music; Folder. Edition Breitkopf. Romantic period. Set of parts. Composed 1882/1884. 76 pages. Breitkopf and Haertel #EB 32049. Published by Breitkopf and Haertel (BR.EB-32049).

ISBN 9790004186473. 9 x 12 inches.

Eduard Franck finished the fair copy of his second string sextet score in December 1884. The piece can thus be described as a typical late work, also evident from its wistful retrospective mood. The sextet's D-major first movement has a concise main theme moving to an expressive secondary theme whereas its final movement is a polyphonic masterpiece: This full, yet transparent movement integrates all the characteristics of the preceding movements in a rhythmically elastic, richly melodic broader context that in the end attains serenity and reconciliation.

Saxophone Sextet

SKU: SU.90920032

Composed by Julius Hemphill. Score & Parts. Subito Music Corporation #90920032. Published by Subito Music Corporation (SU.90920032).

Book 2 contains contains scores and parts to 10 more compositions by jazz master and leader of the World Saxophone Quartet, Julius Hemphill. Newly engraved edition. Edited by Marty Ehrlich.Julius Hemphill formed his Saxophone Sextet in 1989, composing new music for concert performances and his celebrated dance and theatre collaborations. The wide history of African-American music is heard in these pieces, all shaped by Hemphill's rich imagination and compositional acumen. The instrumentation is three altos with soprano doubles, two tenors, and baritone sax. The two volumes presented here mirror each other in the range of musical worlds Hemphill evoked as he explores the rich harmony and counterpoint possible with the six- saxophone choir. Also available: Book 1 (Cat. #90920031) CONTENTS 1. Fat Man 2. Tribute/Closer (from Long Tongues: A Saxophone Opera) 3. Floppy/Blued-UP 4. The Answer 5. Georgia Blue 6. Holy Rockers 7. Mr. Critical 8. The Glide 9. Revue 10. The Hard Blues Saxophone Sextet Composed: 1992 Published by: Subito Music Publishing.

Sextet

SKU: BR.EB-32045

Urtext. Composed by Eduard Franck. Edited by Nick Pfefferkorn. Chamber music; Folder. Edition Breitkopf. Romantic period. Set of parts. Composed 1882/1884. 100 pages. Breitkopf and Haertel #EB 32045. Published by Breitkopf and Haertel (BR.EB-32045).

ISBN 9790004186459. 9 x 12 inches.

The Sextet No. 1 op. 41 by Eduard Franck is one of his opp. 41-47 works published in 1882/84 in rapid succession, though its genesis would more likely be considerably earlier. It is an essential and important addition to the sextet repertoire, joining the two other works in this genre by Johannes Brahms.

String sextet - advanced

SKU: HL.49017071

Composed by Bertold Hummel. This edition: Saddle stitching. Sheet music. String. Seit 1965 arbeitete Hummel an diesem Sextett, bis er es 1999 als vollendet betrachtete. Es ist ein leicht spielbares, klangschones und ergreifendes Stuck. Bei der Urauffuhrung hat der im Jahre 2002 verstorbene Komponist noch selbst mitgespielt. Score and parts. Composed 1978/1999. Op. 75d. 40 pages. Duration 6'. Schott Music #ED 20289. Published by Schott Music (HL.49017071).

ISBN 9790001149945. 9.25x12.0x0.128 inches.

Bertold Hummel worked on his Adagietto for many years. Originally conceived as an Elegy for Strings in 1965, it was transformed into an Adagietto for String Sextet in 1978 and published for the first time in 1993. Hummel undertook a further arrangement of the composition in 1999 and participated with musical friends in its first performance. In one of the scores, the title is supplemented by the term “sacrale”, an indication of the religious background of this composition. In a time of increasing secularisation, the creative and no doubt also the reproducing artist have the task of pointing out to their contemporaries the transcendental, the inexplicable and the unprovable. The language of music - most effective perhaps in reaching across world frontiers - has an especially important role in this. Representations of suffering and horror alone cannot be the inherent constituent of a work of art. A reference to comfort and hope is indispensable. Furthermore, life, nature, and, for the believer, knowledge of God give cause enough for praise and thanks.” This is how my father once formulated his artistic conception. A favourite adopted term of his, “musikalische Klangrede” [musical speech), appears to me to be particularly well implemented in the Adagietto.

Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello 1, Violoncello 2

SKU: PR.11442131S

Composed by Peter Schickele. Full score. Duration 26 minutes. Theodore Presser Company #114-42131S. Published by Theodore Presser Company (PR.11442131S).

UPC: 680160681006.

A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend - my brother, who plays viola, was an is an inveterate chamber music player - and members of parents' generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra's concert mistress, and others) but also people from various other walks of life. Although I don't play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.) Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980's, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it's hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done. The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going. I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.
A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend – my brother, who plays viola, was an is an inveterate chamber music player – and members of parents’ generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra’s concert mistress, and others) but also people from various other walks of life. Although I don’t play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.)Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980’s, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it’s hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done.The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going.I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.

Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello 1, Violoncello 2

SKU: PR.114421310

Composed by Peter Schickele. Set of Score and Parts. 74+21+20+22+19+21+19 pages. Duration 26 minutes. Theodore Presser Company #114-42131. Published by Theodore Presser Company (PR.114421310).

UPC: 680160680993.

A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend - my brother, who plays viola, was an is an inveterate chamber music player - and members of parents' generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra's concert mistress, and others) but also people from various other walks of life. Although I don't play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.) Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980's, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it's hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done. The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going. I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.
A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend – my brother, who plays viola, was an is an inveterate chamber music player – and members of parents’ generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra’s concert mistress, and others) but also people from various other walks of life. Although I don’t play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.)Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980’s, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it’s hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done.The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going.I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.

(Blasersextett). By Leos Janacek (1854-1928). Edited by Jan Dolezal. For Flute (including piccolo) Oboe, Clarinet, Horn, Bassoon, Bass-Clarinet. Study Score (paperbound). Published by Baerenreiter Verlag

SKU: CA.5023100

Composed by Josef Gabriel Rheinberger. Edited by Han Theill. This edition: Complete edition, linen cover. Josef Gabriel Rheinberger - Complete Works. German title: Klavierquartett, -Quintett, -Sextet. Josef Gabriel Rheinberger. Complete Works. Full score (complete edition / selected edition). Carus Verlag #CV 50.231/00. Published by Carus Verlag (CA.5023100).

ISBN 9790007090319.

Volu me 31 contains, among other works, the Piano Quartet, which was enthusiastically received by the critics in Rheinberger's time: The themes are noble, with significant content, the motivic development is rich and interesting, above all free from anything resembling a mould ... and such a healthy musical wind blows through the entire work that I believe I am not mistaken if I forsee for this work a great success. This is how a contemporary critic reviewed the work. Indeed, op. 38 proceeded to become the most successful of Rheinberger's chamber music works during his lifetime. The Sextet op. 191b is an effective arrangement of his Piano Trio No. 4 op. 191, for flute, oboe, clarinet, bassoon, horn and piano. All works are also available in separate editions.

Chamber Ensemble String Sextet (2 violins, 2 violas, 2 cellos)

SKU: HL.51481083

Parts. Composed by Johannes Brahms. Edited by Katrin Eich. Sheet Music. Paperbound. Henle Music Folios. Classical. Softcover. 105 pages. G. Henle #HN1083. Published by G. Henle (HL.51481083).

ISBN 9790201810836. UPC: 888680950804. 9.5x12.25x0.359 inches.

Brahms's First String Sextet became very popular after its publication in 1861, yet his publisher Simrock still hesitated when the composer offered him a second such work in 1865, “in the same cheerful mood.” So Brahms made overtures to other publishers, and then Simrock finally agreed to take it on. The critics were initially rather skeptical towards this Sextet op. 36, but Brahms's friends thoroughly approved of it. Clara Schumann praised its accomplished motivic work, while others enthused about its magical sound colors. This practical edition by Katrin Eich, based on the Brahms Complete Edition, now offers performers the opportunity to form their own opinion, whether in performance or by perusing our study edition. The parts include player-friendly cue notes and have excellent page-turns.

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Chamber Ensemble String Sextet (Study Score)

SKU: HL.51487083

Composed by Johannes Brahms. Edited by Katrin Eich. Study Score. Paperbound. Henle Study Scores. Classical. Softcover. 79 pages. G. Henle #HN7083. Published by G. Henle (HL.51487083).

ISBN 9790201870830. UPC: 888680950712. 7.0x9.0x0.251 inches.

Brahms's First String Sextet became very popular after its publication in 1861, yet his publisher Simrock still hesitated when the composer offered him a second such work in 1865, “in the same cheerful mood.” So Brahms made overtures to other publishers, but then Simrock finally agreed to take it on. The critics were initially rather sceptical towards this Sextet op. 36, but Brahms's friends thoroughly approved of it. Clara Schumann praised its accomplished motivic work, while others enthused about its magical sound colors. This practical edition by Katrin Eich, based on the Brahms Complete Edition, now offers performers the opportunity to form their own opinion, whether in performance or by perusing our study edition. The parts include player-friendly cue notes and have excellent page-turns.