Hans Winterberg (1901-1991) composed his first work for the classical formation of the wind quintet (with secondary instruments) at the beginning of 1946 in Prague. After a Suite for trumpet and piano composed at the end of 1945, this was his second work written after the liberation from the Theresienstadt concentration camp in June 1945. This musical, exuberant piece shows no sign of what its author had gone through in the previous five years. The character is light, airy and free from the darkness of the works composed during the Nazi occupation of Czechoslovakia and some further pieces written after the emigration to Germany in 1947. The movements are magnificent and full of ideas and rhythmic figures that develop into ostinato foundations in the tradition of Janácek. The ingenuity and variety of mood changes that accompany each unpredictable change of meter are masterful. The Suite was only recently rediscovered in the composer's estate and is still awaiting its premiere at the time of the release of this publication.
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Flute, oboe, clarinet, horn and bassoon.
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for Woodwind Quintet
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18 Concert arrangements for woodwind quintet by Grieg, Bach, Mozart, Purcell, Sibelius, Handel, Mendelssohn, Berlioz, Wagner & Schubert.
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Scherzo, Op. 48 is a really lyrical piece for wind quintet (flute, oboe, clarinet, bassoon, horn) which lasts around 2 minutes 30 seconds. The work starts allegro vivo with the main theme and some variations of this theme by each instrument then appear to end up on a final Animando. It reminds of music played to hold suspense during movies. This restless piece requires a good mastering of breathing techniques. This book features score and parts. Eugène Bozza won different prizes at the Conservatoire de Paris such as the First Prizes for the Violin, conducting and composition, as well as the Grand Prix de Rome. He composed several operas, chamber works and ballets among others.
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This newly engraved and edited collection of the classic 22 Woodwind Quintets features a first-ever full score and parts for B-flat clarinet and F horn. Every title in this new edition has been revised by Charles Neidich.
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Scored for three B-flat clarinets, E-flat alto clarinet (opt. fourth B-flat) and B-flat bass clarinet.
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With his clarinet quintet, begun in 1915, Reger was remembering his role models Mozart and Brahms, whose works in this genre he particularly admired. This melancholic quintet that is worked through in a strictly motivic way was to be Reger's last opus. Shortly after he had sent it to his publisher, he died of a heart attack in May 1916. The quintet was to become his swan song, first performed at a memorial for the composer on 6 November 1916. Almost one hundred years later, Henle now publishes it for the first time in an Urtext edition, edited by the Reger scholar Michael Kube.
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Composed in the summer of 1984, Yorkshire Ballad was premiered at the Kansas Bandmasters Association Convention by Claude T. Smith and the Kansan Intercollegiate Band. Since its publication, it has become one of the composer's most popular works, and has been arranged for a variety of ensembles. The composer writes “I composed this little piece so that younger players would have the opportunity to play a piece that is more or less in the style of (Grainger's) Irish Tune from County Derry.”
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for woodwind quintet
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Hindemith's sonatas belong in the repertoire of many instrumentalists. Since Hindemith only wrote one single work for this instrumentation, Small Chamber Music for Wind Quintet, it was obvious that one of his sonatas should be arranged for it. Paul Leonard Schäffer retains the solo part in his arrangement of the sonata for clarinet in Bb and piano and distributes the piano accompaniment to the remaining instruments.
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Flute, oboe, clarinet, bassoon, French horn and piano.
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Duration: ca. 1'30.
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For bassoon, clarinet, flute, French horn, and oboe.
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Until recently, the wind quintet from 1957 published here for the first time seemed to be the only work in this formation in Hans Winterberg's (1901-1991) extensive catalog of chamber music gems. In the meantime, another piece in the traditional scoring for flute, oboe, clarinet, horn and bassoon has been rediscovered in his estate, a suite from 1946, written in Prague one year after the composer's liberation from the Theresienstadt concentration camp and one year before his emigration to Munich. Winterberg, a pianist by training, – studied, like Hans Krása, with the respected Prague piano teacher Therese Wallerstein – composed just as passionately for string instruments as for woodwind and brass and experimented with the most diverse and sometimes most surprising formations. What is surprising about the Quintet from 1957 is the vehemence with which the composer lived out his Czech-Austrian-German multiple identities in his compositions, as if the work was a commentary on his complex and dramatic life story: When in all three movements the German children's song “Es klappert die Mühle am rauschenden Bach” is heard in a decidedly Bohemian-Moravian, post-Janácek environment, then this can certainly also be interpreted as an ironic nod of the composer, who in the precarious post-war years had to consider whether he was spending his money on bread and butter or on music paper.
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