Brahms had in fact wanted to stop composing in 1890, but his encounter with the clarinettist Richard Mühlfeld inspired him so much that he produced several works in a row for him over a brief period of time. The melodious Quintet op. 115 has been popular with musicians and audiences alike since its premiere in 1891. Even prior to printing - and presumably with a view toward further dissemination of the work - an alternate version was written with viola instead of clarinet, premiered by no less than Joseph Joachim and authorized by Brahms. The Henle Urtext edition, revised according the text of the New Brahms Complete Edition, thus also includes the alternate viola part. In a brief preface, editor Kathrin Kirsch provides insight into the genesis of the work and discusses interesting variants of transmission in the Comments.
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Composed in 1943. Duration 7 minutes. Full score. Parts available: PAT60070SP.
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Dance Suite is the last work to be written (mostly in late 1989) by the composer. Each movement is dedicated to a choreographer-friend. More than a pièce d'occasion, there are other layers of meaning in the work since each movement had its origin in other formats. These are mostly anniversary pieces composed for family and friends.
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This work, composed in 1878/79, alternates between chamber music intimacy and symphonic opulence, and marks the beginning of a series of significant late works by César Franck. Its composition was partly prompted by the successful performance of Franck's youthful piano trios at the “Société nationale de musique” (founded in 1871), and probably also by a composition competition for works using this instrumental combination whose deadline Franck then went on to miss. The Quintet was received coolly at its first performance in January 1880, and it was performed just a few more times during the composers lifetime. It was only in the 20th century that audiences and critics came to recognise this work as a major milestone in the history of French chamber music, and it now adorns the Henle catalogue in a new Urtext edition.
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This arrangement of Finzi's perennially popular work for clarinet and piano was made to mark the centenary of the composer's birth on 14 July 2001.
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Full Score for Wind Quintet.
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This arrangement of Finzi's perennially popular work for clarinet and piano was made to mark the centenary of the composer's birth on 14 July 2001. It was performed that day at a commemorative concert in Lichfield Cathedral by David Campbell (clarinet) and the Endellion String Quartet. It has since been recorded by Robert Plane (clarinet) and the Finzi Quartet (Resonus Classics RES 10109).
Purchasers should note that the set of parts on sale includes the string quartet parts only: clarinettists should use the part from the clarinet & piano edition which is fully compatible with the Christian Alexander arrangement.
See item 48009725 for the clarinet part.
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The composer, violinist and educator Louis Spohr (1784-1859) wrote a virtuoso adagio for his first wife, a virtuoso harpist and pianist. He later rearranged it for bassoon and piano. Includes solo parts for flute, clarinet, bassoon, violin, and cello.
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Reicha published a total of 24 wind quintets for the “classical” scoring of flute, oboe, clarinet, horn, and bassoon; Op. 88, No. 2 is one of the best-loved and most played. “If it were possible to surpass Haydn in the composition of quartets and quintets, Reicha would have succeeded with these quintets,” thus raved the “Allgemeine Musikalische Zeitung” on a performance of Reicha's quintets, “it seems to me that it is impossible to unite more correctness and clarity with more inventiveness and originality.” This work exudes inspiration and spirit from every note. In addition to the parts, we have also produced a handy study edition of the score.
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Set of Parts only – no score
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Commissioned by the National Centre for the Performing Arts, Beijing for Zhang Weiliang and Fusion Quartet.
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| Price | $76.50 (Save: $8.50) |
Reicha published a total of 24 wind quintets for the “classical” scoring of flute, oboe, clarinet, horn, and bassoon; Op. 88, No. 2 is one of the best-loved and most played. “If it were possible to surpass Haydn in the composition of quartets and quintets, Reicha would have succeeded with these quintets,” thus raved the “Allgemeine Musikalische Zeitung” on a performance of Reicha's quintets, “it seems to me that it is impossible to unite more correctness and clariety with more inventiveness and originality.” This work exudes inspiration and spirit from every note. In addition to the parts, we have also produced a handy study edition of the score.
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| Price | $22.46 (Save: $2.49) |
Duration: ca. 3 minutes.
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(B.C. in C)
Parts
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This work for solo Guitar and woodwind quartet (Alto Sax, Tenor Sax, English Horn, and Bassoon) is one of the movements of the composer's FESTA DI DISCORSI CONCERTANTE, a 10-part work featuring various combinations of instruments.
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DeHaske Music Box Series for variable wind quintet (woodwinds and brass). (Grade 3)
The Albinoni Adagio is based on a manuscript that was discovered by Remo Giazotto among WWII ruins in the Dresden State Library. Only the bass line and six bars of melody remained, probably belonging to the slow movement of a trio sonata. Giazotto reconstructed the now-famous Adagio that has made Albinoni known to a wider public. Ironically enough, Albinoni himself would probably hardly recognize the piece. MORE»
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This work is a set of free variations drawn from a 13th-century Chinese drama by Kuan Han-Chimg. The complex cello and percussion writing focuses on the timbres, textures and fiddling techniques of Chinese ritual music and Ghost opera.
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| List | $54.95 |
| Price | $49.46 (Save: $5.49) |
Oboe and string quartet.
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Commissioned by The Santa Fe Chamber Music Festival in celebration of its 50th Anniversary in 2023. The composer remarks that “this new quintet has no less than Mozart and his K452 as its starting point. To have an oboe, clarinet, horn, and bassoon with an accompanying piano is by no means a usual setup for chamber music. Beethoven wrote his own work inspired by Mozart's unusual ensemble, and now here I come to follow in their footsteps! The dialogue between the winds and the piano is one feature of this quintet, but what we have here is also like a miniature orchestra. And, on top of that, there are these four instruments in the wind section that act like a choir with soprano, alto, tenor, and bass.” Lindberg adds one more name from the canon of classical music as an influence: “I've been curious to explore why just two chords of Purcell are enough to immediately identify a piece of music by this master. So, by studying his use of harmony for many years now, I've come to solutions and key elements that can somehow work the same way they did in Purcell's music 400 years ago. One can say that I've spent my time composing chamber music in good company!”
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