Ebenhöh, HorstHaiku and short poems for medium voice and pianoop. 92.1 and 92.21.    Ein Haiku (Horst Ebenhöh)2.    O, ö, ü, a, au (Horst Ebenhöh)3.    Wie bedeutsam sind wir (Horst Ebenhöh)4.    Du solltest alles versuchen (Horst Ebenhöh)5.    Die weissen Wölkchen (Winfried Bauernfeind) 6.    Ich malte (Fritz Steiner)7.    Mein Kater (Horst Ebenhöh)8.    Die Seele tastet nach (Ernst Schönwiese)9.    Vergiß, was du gesehen (Ernst Schönwiese)10.    Hungrige Krähen (Edith Sommer)11.    Sei wie du denkst (Horst Ebenhöh)12.    Ein Ton (Horst Ebenhöh)13.    Die Prim (Horst Ebenhöh)14.    Die reine Quint (Horst Ebenhöh)15.    Ich kann‘s nicht fassen (Horst Ebenhöh)16.    Kleine Septim (Horst Ebenhöh)17.    Die große Septim (Horst Ebenhöh)18.    Lasse dich treiben (Horst Ebenhöh)medium voice, pianoPerforming score / 25 pages

Ebenhöh, HorstIntermezzo for bass clarinet soloop. 104, 5<difficult> single movement / 2-3 minutes U: 2007 ViennaSolo piece for study and concert. Based on parts of the 1st movement from the Clarinet Concerto op.94, but not identical with it (compare also the 4th piece - Allegro - from op.104, 3!).Part / 2 pagesWithout own tempo indication. The "Intermezzo" can be performed rhapsodically, although the thrusting sixteenth-note sequences from the beginning and end must be considered rhythmically exact notation. They can be found again (extending over 17 bars) in the 4th part of the "Bagatelles for Clarinet in E-flat solo (op. 104/, ) and are also based on the solo part of the 1st movement of the Clarinet Concerto op. 94. The most serious difficulties occur in the - mostly tied - duodecimal leaps. Instruments with a "bass key" probably have a somewhat easier time achieving a satisfactory result in the duodecimal passages. As one can hear on the present CD: it succeeds even without the mentioned "octave flap". In this piece, the bass clarinet and its player show much success in what had initially been considered unfeasible.

Ebenhöh, HorstInventionen für Kontrabass op. 27,2 Für Kontrabass in Solostimmung. schwer Vivace - Lento - Vivace corrente leggiero - Poco adagio - Presto risoluto  Die frühe Opuszahl des 2001 entstandenen Werkes wird an Stelle eines verschollenen Werkes „Inventionen für Kontrabass und Klavier“ verwendet, der Komponist beließ die einstige Bezeichnung „Inventionen“, formal kann man das kurzweilige Werk auch als Sonatine ansehen. Angeregt wurde die Kompositionen vom amerikanischen Kontrabassisten James Rapport. Stimme / 10 Seiten

Ebenhöh, HorstJohann Pachelbel with ten variations Theme & 2 variations: J. Pachelbel, 8 variations by Horst Ebenhöh. Easy to moderately difficult work, mostly "in the old style". Also suitable for organ with short octave. 12 pages

Ebenhöh, HorstMusic for Piano and Orchestraop. 13, 1<s> 20 minutes U: 1968 ViennaVivace - Adagio - Allegro - Lento - PrestoNot a piano concerto! Only the fast movements are concertante, in the slow ones the piano is integrated into the orchestra. The work attracted great attention at its premiere.Score only / 91 pages.Parts on request!

Ebenhöh, HorstNarrative for Orchestraop.  107, 2Single movement 9 minutes U: 12.12.2004 Vienna KH, Mozartsaal.Composed for the 20th anniversary of the Vienna TU Orchestra. The movement has a strong motivic character and is suitable for a concert opening.score and parts / 122 pagesscore / 50 pages

Ebenhöh, HorstNarrative for six brass instrumentsop. 90, 1 8 minutes In this “narrative”, each of the six instruments can be heard in its own way. Not extremely difficult. Score and 6 parts / 24 pages

Ebenhöh, HorstVariations in the old style on a theme by Franz Schubert op. 2a <very difficult> 11 minutes, U: 1952 Vienna The theme from the German dances is varied in many ways. At the end of the tonal, technically difficult work, motifs from several variations come together and prepare a thematic conclusion in the spirit of Schubert. Piano solo 19 pages

Ebenhöh, HorstOld Style Variations on a Theme by Franz Schubert for piano 4 hands op. 2b medium difficult 11 minutes U: 1988 Vienna This is the easier four-handed version of the work of the same name for two hands. The theme from the German dances is varied in many ways. At the end of the tonal work, motifs from several variations come together and prepare a thematic conclusion in the spirit of Schubert. Piano solo Score / 28 pages

Ebenhöh, Horst„Phyleus“ – Solo für Englischhorn oder Oboe, op. 14 a<ms> 5 Minuten U: 2000 WienEine kurze Passage, der Person des Phyleus zugeeignet, für Englischhorn solo aus dem szenischen Werk „HERKULES“ nach Friedrich Dürrenmatt.Partitur / 2 Seiten

Ebenhöh, HorstQuintett für Klarinette A, Streichtrio & Klavier op. 122 Partitur & 5 Stimmen / 129 Seiten

Ebenhöh, HorstSonata No. 1 for violin and pianoC major op 1,1<heavy> 20 minutes U: 1952Vivo - Quasi andante, lento - AndanteFor this work the composer received his first composition prize (Academy of Music and Performing Arts, Vienna). For this reason, the catalogue raisonné series opens with this tonal composition. Remarkable is the already recognizable inclination of the composer to rhythm.33 pages

Ebenhöh, HorstSonatina for piano, op. 2c<difficult> 10 minutes, U: 1955 ViennaModerato, Andante moderato, AllegroAn entertaining tonal composition with relatively high technical demands.VIENNA NEWSPAPER, FEB. 6, 1955:The first (Ebenhöh) is a linearicus, motoricus of purest water. In his Sonatina for piano, mostly only two voices cavort carelessly through the tonal space, allegro molto grotesco, the right does not care about the left, the composer leaves them complete freedom of movement. A few times the movement condenses into hard accents, both hands quite far apart, in the lowest bass and highest treble. A funny, almost entertaining piece for listeners who like to do without key, euphony, expression and would like to know once again what one can do with tones also outside of "overcome" tradition... (Joseph Marx)score / 17 pages

Ebenhöh, HorstStieglbräustiege for violin and pianoop. 102, 5 <l> 3 minutes U: 2003 This very light piece can be scored by a violin or by an oboe, each with piano accompaniment. The title refers to a television advertisement with a symbolic staircase for Stieglbräu. Players and listeners are led up and down stairs.... Score & part / 3 pages

Ebenhöh, HorstString quartet "Weinquartett" for 2 violins, viola and violoncello, op.140 Score & 4 parts / 83 pages

Ebenhöh, HorstSuite für 2 Flöten oder 2 Oboen und Klavier, op. 102, 2<mittel - schwer> 17 Minuten U: 2009 Wiener Neustadt Allegro - Andante sostenuto - Molto allegro - Molto moderato - Poco presto.Gleichermaßen für 2 Flöten bzw. 2 Oboen & Klavier verwendbar, nicht aber gemischt (z.B. für 1 Fl + 1 Ob). Mittlere Schwierigkeit – ausgenommen im rhythmischen Bereich. Übungs- und Konzertstücke, nicht nur als Zyklus verwendbar. Partitur & 2 Stimmen / 28 Seiten  

Ebenhöh, HorstTriancia  für Oboe, Klarinette B und Fagott op. 84, 2<s>12 Minuten, U: 1996 Cluj / KlausenburgAllegro - Allegro moderato - Adagio - Vivo - Coda: Allegro moderatoPartitur / 22 Seiten Der Name des Werkes leitet sich vom ital. „Triancia“ ab, was soviel heißt wie Zunge oder Rohrblatt. Nach dem unruhigen Eingangsstück beginnt das ausgedehntere zweite mit Oboe-Solotakten und endet lautstark mit raschen Auf-und Ab-Läufen aller Instrumente. Das Adagio nützt die, besonders auf französischen Instrumenten ausführbaren Mini-Intervalle und Akkorde für ein reiches klangliches Spektrum. Rasch läuft der ebenfalls mit zahlreichen Zwischenintervallen versehene und rhythmisch betonte vierte Teil des Werkes ab, gefolgt von einer halbminütigen Coda, die die nun schon bekannte Intervallausweitung und am Ende unkonventionelle Spielarten des Fagotts in den Vordergrund stellt. Auftragswerk des „Trio Aulos“ (Mitglieder der Philharmonie Cluj) in Cluj, Rumänien. ADEVARUL DE CLUJ, 8.3.1996 (Transl. from Romanian by Cr. M. Bota): ...The world premiere of the Austrian composer Horst Ebenhöh piece, „Triancia“, was the moment of the evening with the value of „event“. The first performance of the work (composed and dedicated to Trio Aulos) was honoured on Wednesday by the presence of the 60 years old composer, and by the long aplaudes of the audience. Combining the aleatoric writing with other technics used for the three instruments (the bassoon having even a percussionistic role at a moment), „Triancia“ is a suite of various elements, from the dramatism of the first two movements to the tenebres with grotsque nuances of the 3rd part, from the jazz motives (Vivo) to the short but exciting Coda, in a way let in suspense, captivating the audience...

Ebenhöh, HorstViolinola op. 99,4 Partitur / 11 Seiten schwer - Spieldauer ca. 7 Minuten. Molto vivaceAdagio andanteAllegro moderatoIntermezzo – ad libitumAllegro moderatoFür Dina Schneidermann und Emil Kamilarov komponiert. Kurze, abwechslungsreiche Sätze. 

Elmar LehnenOstersingspielfor children's choir, speaker and orchestraMusic: Elmar LehnenText: Rev. Markus Trautmann Duration: 40 min flute, oboe (2nd flute), clarinet in Bb, timpani in A D,G, 2 violins, viola, cello, double bassscore, parts and 15x choir / 372 pages /199€1x choir / 13 pages / 5,00€score / 57 pages / 40€Also available as rental material.

Kreuzlinger Franz Shepherd's dream for female choir (with singing glasses) The Christmas meditation "Shepherd's Dream" is a collage of two motifs from well-known Christmas carols. The opening theme from “Come, you shepherds” is used as an ostinato and the head motif of the song “When I watch my sheep” becomes the shepherds' hallelujah. The Lutheran Christmas carol “Vom Himmel hoch” resounds above both of them as a kind of “Cantus firmus”.   To execute:If possible, the three vocal groups should be positioned separately in the room.The "singing glasses" can be distributed among the singers or played by another group. Duration: approx. 3-4 minutes Choral score / 2 pages / minimum purchase 16 parts

Kreuzlinger Franz Shepherd's dream for female choir (with singing glasses) The Christmas meditation "Shepherd's Dream" is a collage of two motifs from well-known Christmas carols. The opening theme from “Come, you shepherds” is used as an ostinato and the head motif of the song “When I watch my sheep” becomes the shepherds' hallelujah. The Lutheran Christmas carol “Vom Himmel hoch” resounds above both of them as a kind of “Cantus firmus”.   To execute:If possible, the three vocal groups should be positioned separately in the room.The "singing glasses" can be distributed among the singers or played by another group. Duration: approx. 3-4 minutes Choral score / 2 pages / minimum purchase 16 parts

Guise Jean François de5 Pieces for Trumpet and Organ or Pianoop. 14, no. 2These 5 pieces for trumpet and organ or piano were composed in memory of Jean Langlais, one of Jean François de Guise's teachers.Composed entirely in the tradition of French church music, these pieces are a real homage. All the pieces captivate by their "simplicity". And, although they belong to contemporary music, wonderful meditative sounds and passages emerge.Since the accompaniment is mostly only a few small chords or two-part lines and also the trumpet part looks unspectacular, the pieces suggest to be suitable for beginners. This is not the case! Because there is so little musical material, every note counts. The sound balance in the piece is always parity. So they are not typical solo pieces with accompaniment.Thomas SchönboomTrumpet, piano or organplaying score & 1 part / 17 pages

Guise Jean François deBabiole pour quintette à ventop. 17, no. 4Babiole, translated from the French, little thing, is the title of the Wind Quintet op.17, No.4.This trifle, which has a manageable playing time of 3:15 min., is rather to be classified in the tonal range. If one draws parallels to other works of the wind literature, one probably thinks first of Paul Hindemith.And indeed, Jean François de Guise composed this piece in 2009 for a wind ensemble that requested a work intended as an encore for a concert that featured Paul Hindemith's "Kleine Kammermusik op.24, Nr.2" for five winds as the main work.Many composers would quickly reject such a request, if only to avoid comparison.Jean François de Guise, however, took on the task. Despite the supposed tonal proximity to the great colleague, he never plagiarizes, but simply uses the then prevailing structuring of the pieces. It is his music, just with the limitation of means.There are no extended playing techniques and no microtonality.The result is a piece that is sonorous, interesting and, as was heard from various quarters at the end of the premiere, unfortunately only three minutes long.This "smallness" should always be in focus for wind quintets, even those beginning to approach contemporary music.flute, oboe, clarinet, horn, bassoonscore & 5 parts / 26 pages

Guise Jean François deBagatelle pour quintette à vent op. 17, no. 8Composed in the tradition of French modernism, this piece, "Bagatelle pour quintette à vent" (2015), is one of those works that completely dispense with extended playing techniques.These works are made to harken back to that era and provide ensembles with compositions that, while similar in difficulty to their larger "siblings," are nowhere near as extensive. For this reason, the rehearsal effort for the ensembles will be manageable, leaving time to work on other pieces in parallel.This piece is particularly suitable for the youth competitions. An impressive sonority, the recognizability of the individual motives let the listener get into the music from the beginning. The rhythmic elaboration also impresses immediately. Although there are several calmly flowing passages in the piece, the ones that remain in the memory are the ones that sound complicated and intricate. Jean François de Guise also manages at the end, traditionally and yet in his very own way, to set a spectacular final point, which is formed by a furioso and a single note of the bassoon. The piece ends as it began, abruptly.fl, ob, clar, horn, fagscore & 5 parts / 34 pages