PARTITIONS GRATUITES : FLUTE, HAUTBOIS, BASSON ET HARP

Wind Quintet

SKU: ST.C423

Composed by Francois Couperin. Wind & brass music. Clifton Edition #C423. Published by Clifton Edition (ST.C423).

ISBN 9790570814237.

Four contrasting movements. Giocoso, Sostenuto, Allegro and Comodo

The Couperin family’s influence extended over five generations and was as important to French music as the Bachs’ to German music. François 1668-1733 (known as ‘le Grand’) was, like his father, organist of St. Gervais and in 1693 became organist to the King at Versailles.

He excelled as a composer of keyboard music and produced an instruction book L’Art de Toucher le Clavecin, which is valuable for the light it throws on contemporary practice in harpsichord playing.

J. S. Bach knew and admired François Couperin’s music and the two did correspond. Alas, the letters disappeared when, (according to an article in Grove) they were used as lids for jampots!

Arranged by B ryan Kelly
Former Spartan Press Cat. No.: SP1115.

Wind quintet

SKU: FG.55011-296-4

Composed by Kirmo Lintinen. Set of parts. Published by Fennica Gehrman (FG.55011-296-4).

ISBN 9790-55011-296-4.

T his work was premiered by Idee Fixe Wind Quintet in Helsinki in January 2010. The first movement is a four-voiced canon, the second a fantastic variation on one tone: F-sharp/G-flat. Danza, the last movement further develops the thematic material from Canon. The duration of the work is ca. 12 minutes.

Wind quintet

SKU: FG.55011-297-1

Composed by Kirmo Lintinen. Score. Published by Fennica Gehrman (FG.55011-297-1).

ISBN 9790-55011-297-1.

T his work was premiered by Idee Fixe Wind Quintet in Helsinki in January 2010. The first movement is a four-voiced canon, the second a fantastic variation on one tone: F-sharp/G-flat. Danza, the last movement further develops the thematic material from Canon. The duration of the work is ca. 12 minutes.

Oboe, bassoon and piano - difficult

SKU: HL.49016219

Composed by Benjamin Schweitzer. This edition: Saddle stitching. Sheet music. Misc. Score (also performance score). Composed 2006. 73 pages. Duration 10'. Schott Music #ED 20121. Published by Schott Music (HL.49016219).

ISBN 9790001146449. UPC: 884088202538. 9.0x12.0x0.195 inches.

The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of 'twilight': air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds.The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this 'motto-like' opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning.The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, 'arcane' bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the 'elastic' character of the middle section.Benjamin Schweitzer.