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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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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Composed in 1943. Duration 7 minutes. Full score. Parts available: PAT60070SP.
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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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Set of Parts only – no score
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Full Score for Wind Quintet.
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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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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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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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Duration: ca. 3 minutes.
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The work was commissioned by the Schwetzingen Mozart Festival at the suggestion of clarinetist Nikolaus Friedrich who wished to enrich the rather meagre repertoire for basset clarinet. This edition contains the part of this instrument, much appreciated by Mozart, arranged for modern B-flat clarinet. As the title suggests, audible tonal and motivic analogies have a formative effect in this cycle, the parts of which the composer regards as five “sound poems, interconnected in some ways,” and which also refers motivically to other works by Höller. At the centre is a slow and expressive movement in the character of a lament, which is linked by the seven-tone motto A-B flat-E flat-C-B-E-D (German: a-b-es-c-h-e-d (= “Abschied”, meaning “farewell”)) to the surrounding lively movements, some of which seem deliberately improvisatory. The strings, although accompanying, are hardly less virtuoso than the solo wind instrument, especially in the rapid finale.
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The work was commissioned by the Schwetzingen Mozart Festival at the suggestion of clarinetist Nikolaus Friedrich who wished to enrich the rather meagre repertoire for basset clarinet. This edition contains the part of this instrument, much appreciated by Mozart, arranged for modern B-flat clarinet. As the title suggests, audible tonal and motivic analogies have a formative effect in this cycle, the parts of which the composer regards as five “sound poems, interconnected in some ways,” and which also refers motivically to other works by Höller. At the centre is a slow and expressive movement in the character of a lament, which is linked by the seven-tone motto A-B flat-E flat-C-B-E-D (German: a-b-es-c-h-e-d (= “Abschied”, meaning “farewell”)) to the surrounding lively movements, some of which seem deliberately improvisatory. The strings, although accompanying, are hardly less virtuoso than the solo wind instrument, especially in the rapid finale.
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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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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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Composed for and premiered by the Juilliard String Quartet and clarinetist Charles Neidich. 15 minutes.
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From the composer: Soliloquy was written in memory of my father, who died on September 1, 1975. He had been a concertmaster of the New York Philharmonic for 23 years, and I still find it hard to think of that orchestra without him sitting in the first chair. So the idea of an extended dialogue for clarinet and violin seemed not only natural but inevitable. The Soliloquy begins with a long, unaccompanied line for the violin. The other strings enter, and a mood of sustained lyricism introduces the clarinet. The prevailing feeling is that of desolation. I deliberately avoided an emotional climax in the Soliloquy, feeling that sustaining the same mood throughout the music would achieve a heightened intensity. Structurally, this movement alternates two melodic ideas. The first is introduced by the violin (in B), while the second (in B-flat) is represented by the clarinet. A three-note motto (C-sharp, B, B-flat) grows from the alternation of the two tonalities and provides a third major element. The movement ends as it began, with the same long violin line, this time joined by the clarinet.
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(B.C. in C)
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Previously unpublished incidental music composed for the Arthur Laurents comedy “Invitation to a March,” which opened on Broadway on Oct. 29, 1960. This suite was recorded on the CD “Unsung Sondheim” (Varese Sarabande). First edition based on the composer's autograph manuscripts.
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