Anton BrucknerThree Gregorian motetsfor choir a capella Edited by Franz KreuzlingerIn many of Anton Bruckner's choral works there is a great closeness to Gregorian chant. Several arrangements by Bruckner have survived which add a basso continuo or organ accompaniment to the original chorale. Franz Kreuzlinger has now elaborated these into four-part movements. This small collection is a useful addition to the repertoire of Latin motets, not only for church choirs that are unable to realize the large motets. Soprano, Alto, Tenor, Bass. Choral score / 4 pages / minimum purchase 16 voices

Anton BrucknerAve Maria Motet for choir and organ Arranged by Franz Kreuzlinger soprano, alto, tenor, bass, organ organ score / 5 pages choir/ 4 pages / 30 parts You are welcome to order additional choral scores in addition to the organ score and the other 30 choral scores.

Anton BrucknerAve Maria Motet for choir and small orchestra Arranged by Franz Kreuzlinger score and parts/ 32 pages Choir score/ 4 pages / 30 parts Additional choral scores are welcome to order in addition to the score, parts and the 50 choral scores.

Anton BrucknerAve Maria Motet for choir and orchestra Arranged by Franz Kreuzlinger score and parts/ 43 pages For the strings, a minimum instrumentation of 4-4-3-1 is supplied. Choir score/ 4 pages / 50 parts Additional choral scores are welcome to order in addition to the score, parts and the 50 choral scores.

Guise Jean François deAria: Bist du bei mir(original for voice and piano) - BWV 502for voice, organ and trumpetarranged by Jean François de GuiseJean François de Guise was commissioned to make an arrangement of the aria: "Bist du bei mir" by Johann Sebastian Bach.  The original work is from the "Notenbüchlein für Anna Magdalena Bach" and bears the number BWV 508.In Bach's oeuvre there are numerous pieces that he created for organ and trumpet. Especially his chorale preludes belong to the repertoire of every serious musician for trumpet players until today. Likewise, the instrumentation of voice and organ, well established in the worship service, and always proves grateful.That singing, trumpet and orchestra also work in church music is known to everyone who has heard, for example, the famous aria "Großer Herr und starker König" from the Christmas Oratorio or the solo cantata "Jauchzet Gott in allen Landen".It was also from these experiences that the piece presented here was commissioned for Eternity Sunday.In order to make performances possible even in a small ensemble, Jean François de Guise decided to create an arrangement for voice, trumpet and organ.He not only added a solo part for the trumpet here, but also incorporated an interlude that does not appear in the original. This makes the piece a real little solo aria.Since most trumpeters today play on the German concert trumpet in Bb, this was the first choice for the score and as a single part in the edition. However, in order to give musicians who prefer the C notation the opportunity to play the work, a C part is also included in the edition. This can then be used equally for the piccolo trumpet.voice, 2 trumpets, organscore and 4 parts / 27 pages

Guise Jean François deBassoon Quintet for Bassoon and String Quartetop. 17, No. 12Dedicating a piece to a two-time Pulitzer Prize winner, who is also his own mentor, shows on the one hand the great gratitude and appreciation for the friend and teacher, but on the other hand sets the bar for the assessment particularly high, since comparisons with the works of Elliott Carter do not increase are to be avoided.Jean François de Guise shows that techniques learned and the influence exercised by teachers do not necessarily lead to the original being copied. The independent tonal language and the use of the extended 12-tone technology allow Jean François de Guise to develop something of his own and yet show his mentor respect.The bassoon, which has a special position here not only because it belongs to its own family of instruments, is played as an active soloist in the piece. The string quartet not only accompanies, but also gives the work its own accents and twists, which the bassoon repeatedly joins. If you analyze the work, you will see that it actually represents a small “concert”.As almost always with compositions by Jean François de Guise, the focus is on the sound, which makes careful work on structure and intonation essential. The result that can be achieved, however, justifies any effort and shows that there is always something new to discover.Bassoon, 2 violins, viola, celloScore & parts / 67 pages

Guise Jean François deClarinet Quintet for Clarinet in Bb and String Quartetop. 17, No. 10In 2015 this quintet was born out of a collaboration with the cellist Ithay Khen.That the chosen solo instrument is the clarinet may be surprising, knowing that Ithay Khen is considered one of today's leading Israeli cellists. He appears not only as a soloist, but also as a member of various chamber music ensembles, where he gives way to colleagues as a soloist.However, if one takes a close look at the distribution of tasks in the quintet, one quickly notices that the clarinet and the cello act in a corresponding manner and that the cello develops motifs which the clarinet then takes over and expands in a varying manner. Even in the passages where these two instruments communicate directly with each other, the cello does not have an accompanying role, but rather functions as a duo partner.The violins and viola follow the two outside voices and complete the movement. The quintet that Jean François de Guise composed here has power and vitality. Like almost all of his works, of recent times, he deals here with a sound structure based on the extended 12-tone technique, which gives it its very own spheres of sound, rhythm and musical composition.clarinet, 2 violins, viola, violoncelloscore & parts / 31 pages

Guise Jean François deEntrata per due Trombi, Corno, Trombone e Tuba in stile anticoop. 17, No. 6This old-style entrata can certainly be described as unusual for today's usual way of composing.Now the question arises: Why do you write a piece today, of which there are already countless numbers and which were written in the “right” time?Very easily. For the fun of the brass music of the 16th century.Because Jean François de Guise, who came into contact with this music as a trumpeter from early childhood and performed it himself in various ensembles, wanted to prove that composers are still able to do something similar to what their colleagues from the time of the great master of wind music.Since it was not yet customary to draw in dynamics or articulation when the "original" works were created, the composer has decided not to use them in this edition either.All in all, we can advise interested wind players to look at and perform this composition in the same way as the usual intrades, allemand and game music.2 trumpets, horn, trombone, tubaScore & 5 parts / 14 pages

Guise Jean François deFrammento di rumori confondereper cinque strumenti a cordaop. 17, no. 5Although laid out in the extended 12-tone technique, the composer also uses "unnatural" sounds, i.e., those that must be specially produced by the player and resemble noises rather than tones.The fact that Jean François de Guise tries to expand his tonal world is shown by the fact that he does not commit himself to one direction of composing, but rather appropriates color tones as much as possible in order to be able to present his ideas even more consistently.The work "Frammento di rumori confondere" was written in 2009 for the chamber music series of the Melanchthon Church in Dessau-Alten.Here the work stood on equal footing with compositions by, for example, Ligiti, Schoenberg and Ferneyhough, even though it was the shortest in its performance duration of 3:30 min. Its abrupt ending, which is a bit irritating as it gives the impression that it remains unfinished, which the empty bar at the end also implies visually, is also a sonic device used by the composer to make his audience think, or better, to make them take a position.Contemporary music, in his opinion, should not be merely accepted, but should arouse feelings and reactions.In its "confusing" sound, which is already revealed in the title, the piece stands for exactly that.2 violins, 2 violoncellos, double bassscore & 5 parts / 23 pages

Guise Jean François deQuintet for Piano and Stringsop. 17, No. 14Jean Francois de Guise was born on May 15th, 1970. He received his first musical lessons in 1976 in the subject of recorder. From 1977 the trumpet became his main instrument, to which the subjects music theory, composition, piano and organ as well as the subjects conducting and singing were added over the next few years. From 1991 to 1996 he studied in Paris, among other places.His teachers included, for example, Jean Langlais, Sergiu Celebidache and Rolf Reuter. De Guise was particularly influenced in the composition by the American composer Elliott Carter.For many years he worked as a solo trumpeter and conductor with well-known orchestras before he devoted himself almost exclusively to composition and teaching.The compositional oeuvre de Guise ‘comprises around 450 works, including 4 operas and 32 orchestral concerts.Piano, 2 Vl, Vc, VaScore & parts / 34 pages

Ebenhöh, Horst12 little pieces for string quartetop. 5<medium difficulty> 16 minutes Score A4 / 22 pages - parts on request!  The handwriting of the score is by the composer's father, Georg Ebenhöh. The varied short pieces with different degrees of difficulty. An early work that foreshadows later compositional developments. Score / 22 pages

Ebenhöh, Horst2. Streichtrio für Violine, Viola & Violoncello, op. 133 Partitur & 3 Stimmen / 87 Seiten

Ebenhöh, Horst3. Trio für Violine, Kontrabass und Klavier op. 88,2sehr schwer Für Kontrabass in Solostimmung. Kontrabassstimme redigiert von James Rapport - Lento…accelerando...Allegro moderato - Adagio - Allegro - VivaceDas Werk wurde von dem Berliner Kontrabassisten Michael Bladerer angeregt, der ein Kammermusikwerk mit Kontrabass für seine geplante CD suchte, es aber dann nicht spielte. Der amerikanische Kontrabassist James Rapport nahm sich des Werkes an und redigierte Anfang 2001 die schwierige Solostimme des Kontrabasses gemeinsam mit dem Komponisten, sodass das Werk aus der ursprünglichen Handschrift einen PC-Satz erhielt. Partitur & 2 Stimmen / 62 Seiten

Ebenhöh, Horst7 Dances for Oboe and Pianoop. 44, 1 <medium difficulty> 8 minutes. U: 1989 Vienna Moderato (oboe solo) - Allegretto - Allegro - Tempo di Valse - Allegretto - Moderato - Poco allegro Seven short, dance-like pieces that can be performed without particular difficulty and live out of their movement. score & part / 21 pages

Ebenhöh, Horst Atemstücke für Klarinette solo in A op. 104, 1 a-d Partitur / 6 Seiten schwer - Spieldauer ca. 8 Minuten. „ATEMLOS“ – Affanato /„LANGER ATEM“ – Allegretto / Bindungen über mehrere Takte: hier kann der Ausführende beweisen, dass er eine optimale Atemtechnik besitzt./ RUHIGEN ATEMS“ – Adagio bis Andante möglich, mit zahlreichen Viertelton-Glissandis nach oben / „KURZER ATEM“ – Allegro Ein vitales Stück mit „tiefsten Tönen“ (in der Mitte) und „höchsten“ (am Schluss). Und vielen Pausen, die den Eindruck der Kurzatmigkeit vermitteln.

Ebenhöh, HorstChurch songs op. 81,2after texts by Fritz Steiner for baritone and organ 3 organ solo pieces + 9 songs, <s> total duration approx. 25 minutes ;score and part-set / 61 pages

Ebenhöh, HorstKonvokation für Kammerorchester, op. 62,2Bes.: Ob, Hr, Klav, Schlgz, Streicher (mind.55331)<schwer> 17 Min.; 3 Sätze in einem ohne Pause U: 1984 WienPartitur A4 / 123 Seiten Solistisch spielende Instrumente werden zusammengerufen zu gemeinsamem Musizieren. Es entsteht ein sehr unterschiedlich dichtes Klangbild. Motivlich fassbare Gebilde herrschen vor. Dem Klavier kommt keine größere Bedeutung zu als den anderen Instrumenten. Erwiesen gutes Publikumsstück. AZ, 1.12.1984:...ein funkelnagelneues Stück aus der Werkstatt Horst Ebenhöhs, eines unserer Besten (was sich allmählich herumsprechen möge): „Konvokation“. Ein ungemein frisches, lebensvolles „Zusammenrufen der Stimmen“, von rhythmisch starken Kräften getrieben. Tradition und Kompositionsweisen der neueren Zeit fließen zwanglos zusammen, lassen expressive Melodiebögen erstehen; prickelnd und elektrisierend, mit - bei aller Ökonomie - vielen Details werden aus einem kleinen Apparat (Streicher, wenige Bläser, Schlagwerk, Klavier) die apartesten Effekte geholt... NEUES VOLKSBLATT, Linz, 5.12.1984:Ebenhöhs „Konvokationen“ für kleines Orchester op.62/2 in einem Satz ist in sich durch drei Satzbezeichnungen gegliedert. Zerbe nahm das dynamisch reich schattierte Werk durchsichtig und leicht und erzielte mit dem Kammerorchester ein gutes Einvernehmen. Perfekte Diminuendi im Andante-Teil trugen das Stück ins Elegische, im schnellen Schluss schlug die Stimmung jedoch wieder auf humor- und schwungvoll um. OBERÖSTERREICHISCHES TAGBLATT, Linz, 6.12.1984:Den Beginn aber machte eine recht unkonventionelle „Konvokation“ für kleines Orchester in einem Satz von Horst Ebenhöh, die den jungen Leuten auf den Leib geschrieben schien. Das originelle Stück wurde mit spürbarer Lust gespielt.

Ebenhöh, HorstCycle for HarpsichordC major op. 51,3<heavy> 19 minutesAllegretto - Andante, molto moderato -Allegro - Moderato - Allegretto - Vivo-VivaceA concert work composed "tonally" for the harpsichord. The composer does not wish any interpretation on the piano.24 pages

Ebenhöh, HorstCycle for Viola and Pianoop. 19, 1  <s> 18 minutes U: 1974 Vienna; ORF production Allegro - Adagio con tempi diversi - Prestissimo -Lento, Intermezzo for voices - Allegro molto An extremely vital and varied concert piece! Score and part / 39 pages.

Ebenhöh, HorstDürnstein - Fanfare for 2 trumpets (Bb) and 2 trombones op. 48, 3 b 2 trumpets, 2 trombones playing score and parts / 10 pages

Ebenhöh, Horst Extrakt für Violoncello solo op.  66, 2 Das im Jahr 1985 geschriebene “Konzert für Violoncello und kleines  Orchester wurde 1988 von Ricardo Bru  in einem Konzert im Großen Sendesaal des ORF öffentlich uraufgeführt. Die Darbietung gelang hervorragend, sodass der Mitschnitt wie eine Produktionsaufnahme gewertet werden konnte und auch ein Teil der ORF-CD „edition zeitton“ (Nr. 250) geworden ist.  Im Auszug („Extrakt“) für Solocello, op. 66, 2 wird Musik aus dem ersten Satz des Violoncellokonzertes op. 66 vorgestellt, formatisiert auf Solocello, wobei die ersten Dutzend Takte unverändert, d.h. ident sind mit der originalen Solostimme. Der Beginn liegt in der sonoren tiefen Lage, der Mittelteil bietet mehr Bewegung und bedient auch die hohen Lagen des Instruments. Am Ende blendet die Musik - pizzicato - langsam aus, nicht ohne durch ein unüberhörbares sforzato den Schlusspunkt zu setzen.  Partitur A4 / 3 Seiten

Ebenhöh, HorstVOR- und NACH-worte für Oboe und Klavier op. 44, 215 MinutenVORspiel – VORschläge – VORüber ziehendes Gestirn – VORazität  – NACHdenklich – NACHlaufen – NACHhall – NACHhausePartitur & Stimme / 37 Seiten  

Ebenhöh, HorstFour Bagatelles for Clarinet E flat soloop. 104,4<Difficult> ca. 8 minutes U: 2007 Vienna CD "Klarinettenklang CD".Moderato - Presto scherzando - Poco adagio, tranquillo - AllegroVaried solo pieces for clarinet in E-flat.Voice / 7 pagesPresentation of all registers of the E-flat clarinetModerato: Bagatelle with great contrasts. Presto scherzando: Minischerzo with short and simple "trio". After the repetition 5 bars coda and ending without ritardando. Poco adagio, tranquillo: With long notes given time to develop and to trace subtle differences in volume. Allegro: For this movement, parts of the solo part of the Clarinet Concerto op.94 (from its first movement) were used. The "Intermezzo for bass clarinet solo op. 104, 5" also resembles this Allegro in notated form over large parts and is suitable for tonal comparisons between E-flat and bass clarinet.

Ebenhöh, HorstZwillingsspiel für Violine und Altsaxophon (Es) - op. 91,2 2 Stimmen / 10 Seitensehr schwer - Spieldauer ca. 5 Minuten. Eine Geigerin und ein Saxophonist erwarten Zwillinge. Was liegt näher, als sich dieser ungewöhnlichen Instrumentenkombination zu nähern und dabei manchmal ungewöhnliche Spielarten zu verwenden? Während des Entstehens des kurzen Werkes wurde Bedacht genommen auf versetzte Wendemöglichkeiten der beiden Instrumente, sodass dem fortlaufenden musikalischen Fluss kein Abbruch getan werden muss. Außergewöhnlich schwieriges Werk,