These two extraordinary works of late Mozart, KV 594 and KV 608, were both composed to fulfill a commission for a memorial exhibit in Vienna, to be played in a 'mechanical clock organ.? The term 'fantasy? or 'fantasia? came to be affixed to these works later, and is more descriptive and less cumbersome than the term Mozart listed in his own catalogue, 'Ein Stüke für ein Orgelwerk in ein Uhr.? They are also variously titled 'Adagio und Allegro in f für ein Orgelwerk? and 'Allegro und Andante (Fantasie in f) für eine Orgelwaltze.?The first of these, composed between the monumental String Quintet in D and the Piano Concerto in Bb KV 595, is an A-B-A form, comprised of an f minor Adagio opening and closing, with a contrapuntal Allegro at its heart. KV 608 is more complicated, opening with an f minor section reminiscent of a French Overture, followed by a fugue in f minor, then an Andante aria, followed by a return to the opening and then a more complex version of the fugue.Despite the frustration that Mozart expressed (in a letter to Constanze) with the sound world of these mechanical devices, KV 594 and 608 are remarkable works which stand at an intersection, incorporating what he learned about counterpoint studying at the foot of Bach, while looking ahead to the emotional and harmonic poignancy of Schubert. / Quintette A Vent

Wind Quintet No.2 Op.15 is a piece by Danish composer Svend Westergaard.Svend Westergaard's music is always thematically/motivically structured such that the works in various ways are built up as variations elaborations and experimental treatments of recognisable material giving the music cohesive power and comprehensible logic.

Concerto In C Minor for Oboe Strings and Basso Continuo composed by Matthäus Nikolaus Stulick [or Georg Friedrich Händel or Johann David Heinichen]. Piano reduction. There are three versions of this concerto with different assignments: Source A: In the library Schwerin [D-SWl] as „de Sing. Stulick' [Mus.5337]. Source B: In the collection Rheda [D-RH] as „Del Sing. Heinichen' [Ms 389]. Source C: In the univesity library Upsala [S-Uu]als „Dell Sing. Hendell' [i hs. 19:28]. The distribution of a baroque composition under various composers names was not uncommon and usually meant that it was aworthy work of high compositional quality. This Concerto for Oboe Strings and Basso continuo can serve in any case as evidence for this thesis. The question which of the three composers mentioned was the creator of the concert can not be answered conclusively. Two arguments suggest however that Matthäus Nikolaus Stulick (c.1700-1732) is the most likely of the three candidates: - The Schwerin manuscript [Source A] that names Stulick as the composer is the best by far; it contains far fewer errors and inconsistencies than the other two. - The designation of a work by a foreign composer name makes only sense if an unknown composer publishes under a name of a much more prominent composer not vice versa. Why should a work of Handel or at his time well-known Heinichen be played under the name of someone less known? We do not know much about the life of Matthäus Nikolaus Stulick. He was born around 1700 in Bohemia and worked in the 1730s as concertmaster at the court in Mainz where he died in 1732. Besides two Oboe concertos he composed a concerti à 4 for three wind instruments and BC.

This is an updated edition of Francis Poulenc's 1962 work Sonata For Oboe And Piano, edited by Millan Sachania. Featuring the full score and a separate Oboe part, this exclusive edition also includes a download card, giving you instant online access to demonstration and accompaniment tracks.Originally completed in 1962, Poulenc's Sonata For Oboe And Piano had been brewing in his mind for at least five years. The last of Poulenc's trio of sonatas for woodwind instruments, he tragically passed away before it could be definitively engraved, leaving behind a work with a number of ambiguous notational marks that resulted in an incomplete first edition, published posthumously. A number of revisions have taken place, but this, expertly edited by Millan Sachania, aims to provide a playable, legible, precise and authoritative score that reflect closest Poulenc's intentions.This new edition revises many minor details, including Piano chords, tied notes, the correction of various bars throughout as well as his crescendos during the third movement. At all points, Sachania has aimed to reproduce an authoritative and accurate score that is at once playable and a reflection of what Poulenc himself may have intended. This is a most exciting prospect considering the reputation that this work has garnered as a piece of profound poignancy. Dedicated to Sergey Prokofiev, it has been said that the mournful final movement, Déploration, is something of an obituary. What makes this edition of Sonata For Clarinet And Piano really special is the unique download card that provides exclusive online access to demonstration and accompaniment audio tracks. Professionally-recorded by renowned oboist Christopher Cowie and pianist Huw Watkins, the demonstration track allows you to hear exactly how the piece as a whole should sound, before the independent Piano-only track lets you take the place of the Oboe in your very own performance. This is a unique opportunity for oboists to learn from an authoritative score, and play along to a special backing track, with a work that's one of the finest for the instrument ever composed.For oboist fans of Francis Poulenc, lovers of Les Six, or just players with a proclivity for beautiful music, this edition of Sonata For Oboe And Piano has been long-awaited, and now it's available in this unique edition with accompanying download card. / Hautbois Et Piano

Seven lively pieces for players at grades 2 - 3. Each piece helps with specific technical points - eg: Dim Dragon uses pauses and explores diminished chords while Ornamental Dragon uses various trills and mordents etc but all within an entertaining framework. The piano accompaniment is of the same grade as the solo part encouraging pupils to play together. AMEB (Australian Syllabus) 2004Grade: 2 - 3

'The genesis of Aubade is a piece for Piano which I wrote in the spring of 2015 and which I afterwards thought might go rather well on the Oboe. As I warmed to this idea and a piece for Oboe began to develop Irealised that I was constantly thinking about Oboist friends with whom I had had such pleasure when playing in various wind ensembles. Aubade is therefore in a way a celebration of those friends. There is nospecial significance in the title but it seems to me to be appropriate.' - Michael Walshe