Directly after composing his first violin sonata, Fauré wrote another great chamber music work with the Piano Quartet op. 15. This youthful, fresh composition met with wide approval at its premiere in February 1880, however, a little later, friends expressed somereservations about the last movement. Fauré then even composed an entirely new Finale, although this was only after a period of reflection of three years. With this new final movement, op. 15 quickly found its way into concert halls and is now regarded as one of the most important and popular French chamber music works of the late 19th century. The fingering in the piano part has been added by a specialist in “musique française,” the French pianist Pascal Rogé.
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Inspired by the success of his First Piano Quartet, published in 1884, the composer began a second work in this genre only a short time later. The style is considerably more serene and individual than that of the First Piano Quartet, and both the sequence and character of the movements are more reminiscent of Schumann and Brahms. In its Andante, as Fauré later recalled, he unconsciously set to music the memories of the sound of bells in his childhood.
Through the comparison with the autograph, Fauré specialist Fabian Kolb was able to correct with this Urtext edition numerous errors of the first edition. As also in the case of the Henle edition of the First Piano Quartet, Pascal Rogé - an authority on French music - was responsible for providing the fingerings in the piano part.
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Full set of Parts for Wind Quintet.
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Suite for soprano, alto, tenor and baritone saxophone.
Includes: I Feel Pretty; Scherzo; Somewhere; Balcony Scene; Cha-Cha; Jump; One Hand, One Heart; Gee, Officer Krupke.
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For several years following composition of his first piano quartet, Dvorák's publisher Simrock pushed him to compose a follow-up piece in the genre. The work, written during a few short weeks in summer 1889, fulfilled Simrocks wishes. With his op. 87, Dvorák delivered a challenging and mature work in which a mastery of form is combined with memorable themes and surprising harmonic turns, leading it quickly to conquer the hearts of both performers and audiences.
The engraver's model for the first edition is lost; but together with the first edition the autograph survives as a second source for our critical edition, with which Henle continues its series of Urtext editions of this composer.
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Nikolai Kapustin composed the Divertissement op. 91 for 2 flutes, cello and piano in 1998. He recorded it on CD himself with Alexander Korneev (flute), Marina Rubinstein (flute) and Alexander Zagorinsky (cello).
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A very readable foreword and extensive Critical Commentary with all necessary information enrich this Urtext edition by master Munich flautist and Mozart expert Henrik Wiese. One may learn there, for instance, that there are some peculiarities in the transmission history of Mozart's flour flute quartets: one quartet (C Major, Anh. 171 [K. 285b]) is in all likelihood falsey attributed and thus not by Mozart at all, another (G Major, K. 285a) survives in only two movements, and peculiarly at that, raising at least some doubts about the established version, and a third flute quartet, though doubtless by Mozart, remains completely misdated in the Kochel catalog (that in A Major, K. 298, composed in 1786 not 1778). Only the first flute quartet, in D Major (K. 285), can be dated clearly, to Mozart's stay in Mannheim in 1777. There he had fallen hopelessly in love with Aloysia Weber, the elder sister of Costanze who years later would become his wife. This masterful edition is worth acquiring for this work alone.
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A nice bound copy of the flute part for this popular jazz piece.
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Threnody I is for Flute, Violin, Viola and Cello. Threnody II is for Alto Flute, Violin, Viola and Cello.
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Miniature Quartet No. 1 in A Minor. Parts only.
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“Quartet, when mentioned in the context of concert music, is generally assumed to mean string quartet. In my case, the quartet that has played a central role in many of my pieces (besides the string quartet) is that of two pianos and two percussion [instruments]. The piece is one of the more complex I have composed. It frequently changes key and often breaks off continuity to pause or take up new material. Though the parts are not unduly difficult, it calls for a high level of ensemble virtuosity. The form is one familiar throughout history: fast, slow, fast, played without pause. The slow movement introduces harmonies not usually found in my music. The piece is dedicated to Colin Currie, a percussionist who has broken the mold by maintaining his solo career with orchestras and recitals and also, quite amazingly, by founding the Colin Currie Group which plays whatever ensemble music he believes in. I salute him and hope others will take note.” -Steve Reich
Quartet was co-commissioned by Southbank Centre, Carnegie Hall, The Juilliard School, Cité de la musique, and Kölner Philharmonie / KölnMusik, and is approximately 17 minutes in duration.
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English horn, violin, viola and cello.
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Miniature Quartet No. 2 in D Minor. Parts only. Score also available for sale.
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Ariel is scored for basset clarinet, violin, cello and piano, and is a response to the poem of the same name by Sylvia Plath. Simpson reacted to the poem musically, jotting down the ideas for instrumental combinations, as well as the emotional content as he read the words. The piece begins, ('Stasis in darkness...') and gradually wakens up to a furious outburst in all the instruments. Scales descend to the depths of the instruments ranges, out of which a slow, winding duet for basset clarinet and cello leads to the centre of the work – a slow, calm three-chord chorale. The work then comes to a stand-still where short outbursts are gradually transformed into new, faster material. The three-chord chorale motif then goes through a number of permutations until a recap of the opening's outburst is quickly side-lined by a boldly expressive return of the chorale motif. This piece is about extremes – extremes of expression, of instrumental textures and capabilities.
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for violin, cello, and piano with kick drum
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For flute, clarinet, violin, cello and piano.
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Miniature Quartet No.2 In D Minor. Score only. Parts also available for sale (NOV120190).
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This is Mozart's only piece of chamber music for the oboe – and no oboist would want to be without it! Like the Clarinet Quintet, the Oboe Quartet of 1781 was written for a friend: Friedrich Ramm, a member of the celebrated court orchestra in Mannheim. Since then it has become the most significant and best-known work in its genre. The playful virtuoso outside movements frame a brief slow movement in the minor mode that brings out the instrument's elegiac timbre. Unlike the Oboe Concerto, this work has come down to us in Mozart's autograph score, which has served as the principal source of our edition.
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This arrangement expands the repertoire for horn trio and in particular provides a companion work to Brahms's Horn Trio in E flat major, Op. 40. Sopranos will find it an inviting addition to their recital repertoire, and the inclusion of an alternative part for cello in place of horn extends the work's availability to piano trios. The available versions of Strauss's Four Last Songs hitherto comprise the original, for soprano and orchestra, and the reduction for soprano and piano by Max Wolff. For this new arrangement, the use of the violin and horn seemed natural, not least with respect to the soloistic nature of the principal parts in the orchestral score. This combination allows the arrangement to be faithful to the depth and complexity of the original whilst emphasising the intimacy afforded by chamber music
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Inspired by the events of September 11th, this three-movement work incorporates recorded voices of NORAD air traffic controllers, FDNY, and Ground Zero neighborhood residents. Audio component for performance use available directly from the publisher at USRental@boosey.com
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Lounge Lizards (1994) was commissioned by the Minnesota Orchestra Association. This tour de force for two pianos and two percussion is a musical recollection of Daugherty's student years when he supported studies in music composition with György Ligeti by playing jazz piano in lounges, bars and nightclubs across America and Europe. Pulsating, syncopated piano and xylophone riffs are punctuatedby pulsating triangles, sizzling cymbals and beatnick bongos. As the music accelerates, it becomes increasingly polytonal and polyrhythmic.
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For flute, violin, viola and cello.
Contents: Flute Quartet In D Major, K. 285 • Flute Quartet In C Major, K. 285b • Flute Quartet In A Major, K. 298
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Tissues is a set of pieces from the larger work Naqoyqatsi (2002), written for the film of the same name. This book contains numbers 1, 2, 5, 6 and 7. For Cello, Harp, Organ, Celesta and Percussion.
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Favorite spirituals and gospel songs, all set in styles ranging from old-time swing, to blues, to bossa, to a romantic “movie theme” to quasi new age stylings. This recording features solo piano with rhythm section. Songs include: Amazing Grace • Every Time I Feel the Spirit • Just a Closer Walk with Thee • Old Time Religion/Swing Low, Sweet Chariot • and more. Instrumentation - syn, gtr, b, d, perc.
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