Wind instrumentssextett (Flote (auch Altflote und Piccolo), Oboe (auch Englischh...(+)
Wind instrumentssextett
(Flote (auch Altflote und
Piccolo), Oboe (auch
Englischhorn), Klarinette
in B (A und Es),
Bass-Klarinette in B,
Horn in F, Fagott) -
difficult
SKU:
HL.49000553
Composed
by Hans-Jü and rgen
von Bose. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. Score.
Composed 1987. 60 pages.
Duration 13'. Schott
Music #AVV 137. Published
by Schott Music
(HL.49000553).
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.
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.
SKU: SU.00115943 Chamber Music, Piano Quartet/Quintet, Chamber Music, Mix...(+)
SKU: SU.00115943
Chamber Music, Piano
Quartet/Quintet, Chamber
Music, Mixed Ensemble. CD
(PDF Scores). CD Sheet
Music #00115943.
Published by CD Sheet
Music (SU.00115943).
Please note,
customers using Macintosh
computers running macOS
Catalina (version 10.5)
have reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac.
Saxophone SKU: HL.14045604 Para Sexteto o Trio de Saxofones. Compo...(+)
Saxophone
SKU:
HL.14045604
Para
Sexteto o Trio de
Saxofones. Composed
by Johann Sebastian Bach.
CARISCH - MUSIC SALES.
Classical. General
Merchandise. Real Musical
#MK16518. Published by
Real Musical
(HL.14045604).
By Hans Huber. For wind quintet (flute, oboe, clarinet, horn, bassoon) and piano...(+)
By Hans Huber. For wind
quintet (flute, oboe,
clarinet, horn, bassoon)
and piano. Facsimile
Editions - Winds and
Piano. Sextets. Unique
composer. Difficult to
categorize. Surprise your
friends. Romantic.
Published by Rosewood
Publications
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.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
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.
2 violins, 2 violas, 2 celli - Level 6 SKU: KU.GM-1911 Composed by David ...(+)
2 violins, 2 violas, 2
celli - Level 6
SKU:
KU.GM-1911
Composed
by David Philip Hefti.
Edited by David Philip
Hefti. Bach format (230 x
302). In A Folder. Full
score, parts. 78 pages.
Duration 19 minutes.
Edition Kunzelmann
#GM-1911. Published by
Edition Kunzelmann
(KU.GM-1911).
ISBN
9790206202384. 9 x 12
inches.
Monu
mentum, Music for
String Sextet, was
written in 2014 to a
commission from the
Moritzburg Festival, The
Chamber Music Society of
Lincoln Center New York
and the Kathe Kollwitz
House in Moritzburg. It
is dedicated to the
cellist Jan Vogler. The
world premiere took place
on 19 August 2014 at the
Moritzburg Festival,
performed by Timothy
Chooi & Mira Wang
(violins), Roberto Diaz
& Hartmut Rohde
(violas), Jan Vogler
& Harriet Krijgh
(cellos). The American
premiere took place on 7
May 2015 in the Lincoln
Center with the Amphion
String Quartet, the
violist Yura Lee and the
cellist Jan
Vogler.
The
String
Sextet Momentum<
/em> commemorates
the outbreak of the First
World War, the death of
Peter Kollwitz –
who died as a volunteer,
aged just 18, in the
early weeks of the war
– and the manner in
which his mother, the
artist Kathe Kollwitz,
mourned the loss of her
son. The artist worked
through her pain by
creating her most famous
sculpture, The
Mourning Parents. It
stands today at the
German soldiers’
cemetery at Vladslo in
western Flanders, where
her son Peter also lies
buried. During the 18
years that she worked on
the Parents
, Kathe Kollwitz attended
several concerts at the
Volksbuhne in Berlin,
where from January to
February 1927 she heard
Arthur Schnabel’s
cycle of all the
Beethoven piano sonatas.
Schnabel performed the
Sonata op. 111 in c minor
on 26 February 1927, and
this work touched her in
particular, as we can
read in her diary:
“The strange
flickering notes turned
into flames – a
moment of rapture, taking
one into a different
sphere, and the heavens
opened almost as in the
Ninth (Symphony). Then
one found one’s way
back – but it was a
return after having been
assured that there is a
heaven. These notes are
serene – confident
– and good. Thank
you, Schnabel!”
This encounter with
Beethoven’s last
sonata inspired the
artist to take up work
again on her sculpture
after a long interruption
and to consider different
possibilities for
arranging the two
figures. For this reason,
the first minutes
ofMomentum
are derived from this
sonata by Beethoven
– though without it
being quoted in an
audible manner –
and they leave their mark
on the form of the
Sextet. The number 18 and
the date of Peter
Kollwitz’s death
(23 October 1914) also
have a direct impact on
the work’s
dramaturgy. This music is
mostly calm in nature,
but is time and again
interrupted unexpectedly,
being disturbed by unruly
sounds and vehement
eruptions until time
itself seems to dissolve
in an aleatoric passage.
The work ends with an
extended lament on
“seed corn should
not be ground”, a
line from
Goethe’s W
ilhelm Meister’s
Journeyman Years.
Kathe Kollwitz often
quoted this phrase to
argue for peace, and also
took it as the title for
a lithograph that she
made in 1942. -
David Philip
Hefti
Sextet from Lucia Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire C.L. Barnhouse
Composed by Gaetano Donizetti (1797-1848). Arranged by Andrew Glover. Concert ba...(+)
Composed by Gaetano
Donizetti (1797-1848).
Arranged by Andrew
Glover. Concert band.
Gems of the Concert Band.
Audio recording available
separately (item
CL.WFR365). Grade 4.5.
Score and set of parts.
Composed 2009. Duration 3
minutes, 20 seconds.
Published by C.L.
Barnhouse
Sextet from Lucia Orchestre d'harmonie [Conducteur] - Intermédiaire Opus III Wind Orchestra Publications
Grade 4 SKU: CL.012-3802-01 Arranged by Glover. Concert Band. Gems of the...(+)
Grade 4
SKU:
CL.012-3802-01
Arranged by Glover.
Concert Band. Gems of the
Concert Band Series.
Audio recording available
separately (item
CL.WFR365). Extra full
score. Composed 2009.
Duration 3 minutes, 20
seconds. Opus III Wind
Orchestra Publications
#012-3802-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-3802-01).
This unique Gem
of the Concert Band
features a brass sextet
accompanied by band. A
great example of the bel
canto style of brass
performance, your sextet
of two trumpets, horn (or
trombone/euphonium), two
trombones (or
euphoniums), and bass
trombone will wow
audiences! Transcribed
from the famous operatic
vocal sextet, this
brilliant work from the
golden age of the concert
band is a real
crowd-pleaser. Our
highest
recommendation!
About Gems of
the Concert
Band
A
series of transcriptions
and other works in
varying styles,
representative of the
programming of the Great
American Classic Concert
Band era of a century
ago, as exemplified by
John Phillip Sousa, Edwin
Franko Goldman, Karl L.
King, and Leonard B.
Smith
Clarinet choir SKU: P2.30083 Composed by Ludwig van Beethoven. Arranged b...(+)
Clarinet choir
SKU:
P2.30083
Composed by
Ludwig van Beethoven.
Arranged by Lori F.
Ardovino. Chamber music.
Published by Potenza
Music (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.
Sextet [Conducteur et Parties séparées] - Avancé Falls House Press
For Flute, Oboe, Clarinet in B-Flat, Bassoon, Horn in F and Piano. Compos...(+)
For Flute, Oboe,
Clarinet in B-Flat,
Bassoon, Horn in F and
Piano. Composed by
Gary Schocker. Score and
part(s). 70 pages. Falls
House Press #CW-GS60.
Published by Falls House
Press (PR.FH0458).
Jesu, Joy of Man\'s Desiring Ensemble de Percussions [Conducteur et Parties séparées] - Intermédiaire Tapspace Publications
(arranged for mallet sextet). By Johann Sebastian Bach (1685-1750). Arranged by ...(+)
(arranged for mallet
sextet). By Johann
Sebastian Bach
(1685-1750). Arranged by
Brian Slawson. Mallet
Sextet. For glockenspiel,
chimes, vibraphone, 2
small marimbas
(4-octave), 1 low marimba
(5-octave) (6 players).
Medium. Score and parts
on CD-ROM. 12 pa
Brass Sextet (BRASS SEXTET) SKU: HL.50487076 Composed by Frigyes Hidas. 2...(+)
Brass Sextet (BRASS
SEXTET)
SKU:
HL.50487076
Composed
by Frigyes Hidas. 20th
Century. EMB. Studies &
Exercises. Score and
parts. Editio Musica
Budapest #Z12218.
Published by Editio
Musica Budapest
(HL.50487076).
ISBN
9790080122181.
9.0x11.75x0.12 inches.
Frigyes
Hidas.
Similar to
cyclic works the
movements, which could
also be described as
performance pieces or
concert studies, are each
of different character.
The fact that they were
conceived as studies is
manifest in that the
composer elaborated a
rhythmic idea or treated
a technical problem in
depth in each of them.
The 'cast' of the setting
changes, however:
sometimes the ensemble
falls into two parts, on
other occasions the parts
are imitating and of
equal importance. The
'Six Studies' provide
chamber music for
intermediate and advanced
pupils.
(Chamber Ensemble) SKU: HL.48182335 Composed by Pierre Max Dubois. Leduc....(+)
(Chamber Ensemble)
SKU: HL.48182335
Composed by Pierre Max
Dubois. Leduc. Classical.
CD. 43 pages. Alphonse
Leduc #AL23482. Published
by Alphonse Leduc
(HL.48182335).
UPC:
888680840181.
9.0x12.0x0.398
inches.
French
composer, Pierre Max
Dubois (1930-1995)
significantly contributed
to the wind repertoire.
Sinfonia da Camera for
Wind Sextet was published
in 1965 and remains
prominent in the ensemble
repertoire. Dubois' music
is characteristically
light-hearted with
unusual harmonic and
melodic textures.
Sinfonia da Camera for
Flute, Oboe, Clarinet,
Saxophone, Horn and
Bassoon reflects Dubois'
compositional
characteristics and is
made up of three
movements; 1) Entrance,
2) Gigue and 3)
Variations. Sinfonia da
Camera is essential to
the advanced Wind Sextet
repertoire. Dubois' work
makes for an exciting,
varied and enjoyable
performance for players
and audiences alike..
Brass sextet - advanced SKU: CY.CC2622 Composed by Claude Debussy. Arrang...(+)
Brass sextet - advanced
SKU: CY.CC2622
Composed by Claude
Debussy. Arranged by
Keith Terrett. French
Impressionist. Score and
parts. Published by
Cherry Classics
(CY.CC2622).
Children's
Corner arranged for Brass
Sextet by Keith Terrett
is a four-movement suite
for 2 Trumpets in B-flat,
Horn, 2 Trombones and
Tuba. Debussy's original
six movement suite was
written and first
performed in 1908 on the
Piano.It was dedicated to
Debussy's daughter,
Claude-Emma who was only
three at the
time.
The four
movements for brass
are:
1. Jimbo's
Lullaby (about an
elephant) 2. Serenade
for the Doll (about an
Oriental porcelain
doll) 3. The Little
Shepherd (a shepherd with
his flute) 4.
Golliwogg's Cakewalk
(they were stuffed black
dolls with red pants &
wild hair.
This
11 minute suite is
suitable for advanced
performers and is the
only arrangement
published of this work
for brass.
Woodwind sextet SKU: P2.10033 Composed by Igor Stravinsky. Arranged by Mi...(+)
Woodwind sextet
SKU:
P2.10033
Composed by
Igor Stravinsky. Arranged
by Micklich. Chamber
music. Published by
Potenza Music (P2.10033).
I have been
very fortunate and
professionally blessed to
have five wonderful
woodwind colleagues at
Arizona State University:
Elizabeth Buck, flute;
Christopher Creviston,
saxophone; Joshua
Gardner, clarinet; Martin
Schuring, oboe; and,
Robert Spring, clarinet.
Together, we presented
numerous woodwind
recitals featuring all
six of us in various
combinations of duos,
trios, quartets, and
quintets. However, until
now, we were never able
to share the stage
simultaneously. To remedy
this, I arranged five
movements of Stravinsky's
Suite No. 1 and Suite No.
2 for Small Orchestra for
the instrumentation of
the ASU woodwind faculty.
The source material
is derived from Igor
Stravinsky's Three Easy
Pieces (1915) and Five
Easy Pieces (1917). These
compositions were written
as four-hand piano
educational pieces for
Stravinsky's children.
Stravinsky would play the
more difficult
accompaniments while his
children played the
simple melodies.
Stravinsky composed
arrangements of several
movements using these
short eight pieces, but
the best-known
arrangements are Suite
No. 1 (1921) and Suite
No. 2 (1925) for Small
Orchestra. The five dance
movements in Suite for
Woodwind Sextet are true
Stravinsky in their wit,
charm, and humor.
After the Sinfonia concertante K. 364. By Wolfgang Amadeus Mozart. Edited by Hog...(+)
After the Sinfonia
concertante K. 364. By
Wolfgang Amadeus Mozart.
Edited by Hogwood,
Christopher. For Violin
1, Violin 2 , Viola 1,
Viola 2 , Violoncello 1,
Violoncello 2
/Contrabass. Score
(paperbound). Published
by Baerenreiter-Ausgaben
(German import).
(in B-flat major op. 18). Composed by Johannes Brahms (1833-1897). Edited by...(+)
(in B-flat major op. 18).
Composed by Johannes
Brahms
(1833-1897). Edited by
Christopher Hogwood.
Arranged by Theodor
Kirchner. For violin,
cello
and piano. Score with
parts.
Published by Baerenreiter
Verlag
Brass sextet - advanced SKU: CY.CC2848 Composed by Jan Sweelinck. Arrange...(+)
Brass sextet - advanced
SKU: CY.CC2848
Composed by Jan
Sweelinck. Arranged by
Keith Terrett.
Renaissance. Score and
Parts. Published by
Cherry Classics
(CY.CC2848).
Sweelinck's
lifetime of keyboard
improvisation gave him a
great repertoire of
keyboard techniques. This
set of four variations
entitled More Palatino
Bibimus latin for, We
Drink in Palatial Style
is full of Sweelinck's
bag of tricks, has been
wonderfully arranged for
Brass Sextet by Keith
Terrett. The music has
been attributed to the
composer due to its
technical complexities
which can only have come
from his pen. The
style of this 4-minute
work which is appropriate
for advanced performers
is elegant and
dance-like.
Cello; Piano Six Hands; Viola; Violin (Score & Parts) SKU: HL.14043461 (+)
Cello; Piano Six Hands;
Viola; Violin (Score &
Parts)
SKU:
HL.14043461
Violin, Viola, Cello
and Piano Six Hands.
Composed by Richard Reed
Parry. Music Sales
America. Classical,
Contemporary. Softcover.
Chester Music #CH83215.
Published by Chester
Music (HL.14043461).
9.5x14.25x0.122
inches.
Richard
Reed Parry 'S Heart And
Breath Sextet For Piano
Six-Hands, Violin, Viola
And Violoncello. Heart
And Breath Sextet Was
Commissioned By The 2011
Musicnow Festival For
Ymusic. ' This Piece Is
Based Around The Idea Of
Using The Widely Varying
Internal Rhythms Of The
Performers' Bodies As
Performance Parameters.
There Is No Actual Tempo
Or Meter Built Into The
Piece. The Breathing
Rates Of The Players Are
Used In Alternation With
The Individualperformers'
Heart Rates To Determine
The Pace At Which All Of
The Musical Material Is
Played. This Requires
That The Performers
Generally Play Quietly
And Delicately, So As To
Be Able To Hear Their
Heartbeats
Adequately.This, In
Combination With The
Natural Variance Between
The Different Heart
Rates, Results In A Kind
Of Delicate Musical
Pointillism: Starts And
Stops Which Are Somewhat
Staggered, Parts Which
Repeatedly Line Up And
Fall Out Of Synch With
Each Other, Different
Individuals' Pulses
Rising And Falling. The
Piece Is Never Performed
Exactly The Same Way
Twice. In This Piece, The
Pianists Wear
Stethoscopes Positioned
Over Their Hearts So That
Each Can Follow His Or
Her Own Heart Rate. Two
Eighth Notes (Quavers)
Correspond To The Two
Sounds Of A Single Normal
Heartbeat, And Performers
Should Match As Closely
As Possible The Staccato
And Irregular Rhythm They
Hear. The Strings Are
Instructed To 'Play To
Breath'; The Natural
Cycle Of One Inhalation
And One Exhalation, Or
Vice Versa, Will
Determine The Length Of
The Bar (Two Quarter
Notes/Crotchets) Without
Any Attempt To Make It
Metronomic. When One
Instrument Is Designated
The Leader, Their Breath
Will Determine The Starts
Of Phrases And The
Procession From One Bar
To The Next, Cuing Other
Parts If Necessary. ' -
Richard Reed Parry.
Brass Sextet SKU: HL.50485814 For brass sextet. Composed by Kamill...(+)
Brass Sextet
SKU:
HL.50485814
For
brass sextet.
Composed by Kamillo
Lendvay. EMB.
Contemporary Hungarian
Works. Score and parts.
Editio Musica Budapest
#Z12016. Published by
Editio Musica Budapest
(HL.50485814).
All five
movements require perfect
virtuoso elaboration:
maximum precision
combined with released
humour that never fails
to take the musical
message completely
seriously. The movements
are: 'Boccacce', 'Con
sentimento', 'Foxtrott',
'Flicorno romantico' and
'Finalissimo'. Movements
2 and 4 as well as 3 and
5 are
interchangeable.