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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Scored for three B-flat clarinets, E-flat alto clarinet (opt. fourth B-flat) and B-flat bass clarinet.
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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.
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for Woodwind Quintet
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for woodwind quintet
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Duration: ca. 1'30.
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Ever since Mozart encountered the clarinet in Mannheim in 1778 he loved the instrument's warm and expressive tone. His friendship with Anton Stadler, the clarinetist in the Royal-Imperial Court Orchestra in Vienna, prompted him to compose not only the Clarinet Concerto (K. 622) but also this “Quintet of Quintets,” which was written two years before his death. Like almost all his works for the clarinet, this Quintet was probably intended originally for the basset clarinet. However, it survives only in two posthumous prints, both of which call for a standard clarinet. These prints form the basis of our edition. As an added bonus, the appendix contains a fragmentary Allegro in Bb major for the same combination of instruments.
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Antonin?Dvorak composed?the quartet in F Major, op. 96 “The American” in the summer of 1893 during his?summer vacation in Spillvale, Iowa. From 1892-1895, Dvorak served as director of the National Conservatory of Music in NYC. He had been interested in “American?Music” and felt that Native American and Afro-American music could inspire an?“American Music” distinct from European influences. He was inspired by (Henry?Thacker) Harry Burleigh, his student in New York and one of the first?Afro-American composers.
While it is?impossible to know why Georges Barrere chose Dvorak's F Major Quartet to?transcribe for Woodwind Quintet, we may easily hazard several guesses. Firstly,?it was a work much beloved by the public and very respected by professional?musicians. As an immigrant himself, Barrere could easily sympathize with?Dvorak's desire to create a distinctly American work. A work in the key of F?Major, it lent itself easily to wind transcription. While known as the Barrere?transcription, it turns out that Samuel Baron, one of Barrere's most famous?students and a long time member of the New York Woodwind Quintet, who has to?his credit a long list of wonderful transcriptions for woodwind quintet, played?a significant role in the transcription.
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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.
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For bassoon, clarinet, flute, French horn, and oboe.
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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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Durations: ca. 2 minutes.
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Flute, oboe, clarinet, bassoon, French horn and piano.
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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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Version of orchestral piece, 1987.
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