Bachschmidt, Anton AdamConcerto in C majorfor oboe, 2 clarinet trumpets, 2 violins, viola and bassNew edition after the original in the court library Thurn-und Taxis Regensburg; call number Bachschmidt 25score & 7 parts / 71 pages

Bachschmidt, Anton AdamConcerto F majorfor oboe principale 2 bassoons, 2 horns 2 violins, viola and bassNew edition after the original in the court library Thurn-und Taxis Regensburg; call number Bachschmidt 37score & 9 parts / 101 pages

Bachschmidt, Anton AdamConcerto in C majorfor solo violin 2 oboes, 2 horns 2 violins, Viola and bassNew edition based on the original in the Eichstätt-Ingolstadt University Library, call number Esl, VIII, 228. score & 9 parts / 75 pagesscore / 41 pagesParts 34 pages

Bachschmidt, Anton AdamConcerto in C major for bassoon solo, 2 oboes, 2 horns, 2 violins, viola and bass New edition based on the original in the Eichstätt-Ingolstadt University Library, call number Esl, VIII, 141. Score & 9 parts / 116 pages

Bachschmidt, Anton AdamConcerto in D majorfor solo violin 2 oboes, 2 horns 2 violins, violetta and bassNew edition based on the original in the Eichstätt-Ingolstadt University Library, call number Esl, VIII, 230. score & 9 parts / 99 pagesscore / 56 pages9 parts / 43 pages

Bachschmidt, Anton AdamConcerto in G majorfor oboe, 2 flutes, 2 horns, 2 violins, viola and bassNew edition after the original in the court library Thurn-und Taxis Regensburg; call number Bachschmidt 34score & 9 parts / 77 pages

Becker, AlbertChristmas motetsfor choir and orchestraEdited by Franz KreuzlingerChristmas motets using the chorale "Vom Himmel hoch" by Martin Luther: Franz Kreuzlinger gave the extremely popular and easily realizable Christmas motet an independent orchestral part, which turns the simple choral setting into a choral symphonic gem and is a worthwhile addition to any Christmas concert. Choral score / 5 pages // score / 14 pages // parts / 18 pages A score, a set of parts and 20 choral scores are supplied. Please order additional choir scores separately

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, 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

Guise Jean François deAllocationfor chamber ensembleop. 23, No. 2The work "Allocation for chamber ensemble op. 23, No. 2", created in 2016, is an octet in terms of its scoring, but can also be counted in the category of works for chamber orchestra, as it contains almost everything that these Form has to offer.With regard to the layout and the flow of the composition, too, Jean François de Guise shows the confidence with which he is able to set timbres and points of expression.If you look at the individual voices, you will notice that each instrument is used purposefully and that pauses are an evident means of expression.In the interplay, there are still dense structures, but these come about with minimalist means.All in all, “Allocation for chamber ensemble” is a work that will set a high point in any concert program.Flute, oboe, clarinet, marimba, piano, violin, viola, celloScore & 8 parts / 96 pages

Guise Jean François deOctetfor chamber ensembleop. 23, no. 4 (2017)This piece, conceived as an octet for flute, percussion, melody percussion, piano and string trio, was inspired in 2017 by the Hungarian composer and conductor Péter Eötvös.As percussionists demand more and more literature that requires virtuosity on many instruments at the same time, Jean François de Guise decided to create this piece as an octet.But, it is equally possible to perform this piece as a chamber ensemble by distributing the percussion, timpani and marimba among several players.Flute, clarinet in Bb, cowbell cymbals tam-tam, snare drum bass drum, quads tom-toms cymbals, temple blocks tom-toms, wood block, timpani marimba, piano,violin, viola, cello.Note: The division into the indicated octet instrumentation is not mandatory.The percussion parts can be divided among several players.Score & 8 parts / 124 pages

Guise Jean François deOctetfor percussion ensembleop. 23, no. 6 (2018)A mixture of the ancient Japanese drum tradition and tone sequences of European contemporary percussion works seems at first glance to be of a contradictory nature. After all, the taiko drums were used to mentally wear down the opponent of the samurai and on the other hand to send their own fighters into a bloodlust.On the other hand, the European percussion culture has developed, especially in the last 20 years, into a classical concert form of its own, in which it is also shown that color mixtures are possible that almost create real tone sequences.The piece "Octet for percussion ensemble, op.23, no.6 (2018)" by Jean François de Guise, begins with martial motifs, which he then gradually infiltrates with European influences. Even when there is another attempt to establish the war theme, it quickly takes on a dance-like character, but without losing its power.Both cultures mix and make one forget that there are hardly any real tone sequences to be heard, but that everything is composed of rhythm, instrumental colors and percussion techniques.The fact that at the end of the piece the "war equipment" is used once again, however, is not perceived by the listener as a fight, but as a really powerful end of an interesting development.percussion, taiko drum, xylophone, marimba, vibraphonescore & 8 parts / 59 pages

Guise Jean François deshades of nightfor nine instrumental voicesop. 23, no. 5 (2017)"shades of night for nine instrumental voices op.23, Nr.5" is actually a small orchestral piece.Atmospheric, though not striking, a night mood is created, not consisting of imitative sounds, but rather formulating feelings and sensory experiences.The piece does not want to be "program music", i.e. not like Charles Ives' "Central Park in the Dark", but it wants to evoke individually experienced things and to address new thoughts and movements of mind each time. flute, oboe, bass clarinet in Bb, marimba vibraphone, piano, violin, viola, violoncelloscore & 9 parts / 78 pages

Guise Jean François deConcerto for Strings op. 8, no. 17 (2018) In 2018 Jean François de Guise composed the „Concerto for strings“. The alternation between tutti, fewer players and soloistic inserts, which takes place within the orchestral sound, is what makes the work so appealing.  Rhythm and the harmonic treatment of the motives never let the piece become casual, but permanently captivate the listener.  Originally, the piece was conceived for youth orchestras, but due to the complexity and the high technical demands, the composer decided against a general classification in this direction.  Even for experienced professional ensembles, this 12-minute concerto presents a challenge.  It goes without saying that the more tutti the instrumentation changes, the more prominent the effects become. But even in a chamber music setting, the work loses nothing of its explosiveness and vitality.  score / 36 pages Parts available on request (also as PDF)! Minimum instrumentation: 4x 1st violin, 4x 2nd violin, 3x viola, 2x violoncello, 1x contrabass

Guise Jean François de Incertitude for chamber ensemble Op. 23, No.7 (2018)   Translated from the French, Incertitude means uncertainty. The piece begins with only a few notes, actually sound effects, which in the further course are developed into motifs, which then finally disintegrate into "individual parts" again. The instrumentation used also conveys an "uncertainty" as to what is to emerge in this notet. The ending does not fully answer this question either. The chamber ensemble "Incertitude for chamber ensemble, op. 23, No. 7", what Jean François de Guise created in 2018, is mainly concerned with sounds and colors. Here, everything conglomerates and thus, when listening, a work emerges that allows to discover and experience many things.   2 percussion instruments, flute, carinet, trombone, harp, piano, violin, violoncello   score and parts / 38 pages  

Guise Jean François deInner songs for strings op. 8, no. 30 (2020) In principle, the structure of the work is based on a solo string quintet and two orchestral string quintets. Nevertheless, it is a work for a larger string orchestra.  The composition, written in 2020, conveys a powerful, even rebellious calm. 2020, the year of the worldwide Corona pandemic, plunged society into unforeseen challenges that each affected individual had to overcome. Just as life at that time had more facets, or rather colors, Jean François de Guise composed different lines and brought them together to form a whole.  The isolation, in contrast to superimposed passages, makes one feel how life was enclosed, activities hardly took place, and different convictions were in conflict with each other. Jean François de Guise nevertheless created a work that, beyond the theme of „pandemic“, is a colorful orchestral work that still allows its own associations in the future and makes the string orchestra perceptible in a completely different way for once. Again and again, the listener gets the impression of a chamber music performance and is transported away into a sound space that can hardly be more gripping. Score Din A3 / 27 pages Parts available on request (also as PDF)!

Guise Jean François demusic for chamber ensembleOp. 23, number 8Jean François de Guise conceived this work as a nonet.In its execution, however, this music for chamber ensemble turns out to be a small orchestral work.Although the chamber music system consistently paves its way, this piece brings all the colors of the orchestra with it and the brass section in particular reinforces this impression.Usually such complicated pieces are then also conducted,another indication of an orchestra.If a conductor leads the performance, it would even be possible to reinforce the string apparatus, i.e. to have multiple casts.Since Jean François de Guise also works very carefully in his orchestral works, i.e. dispenses with parallel or even duplicated passages, this use of the piece could be called legitimate.But if you dare to give space to the transparency of your music, you will be amazed at the listening experiences this piece is able to convey.Flute, clarinet, horn, trumpet, trombone, piano, violin, viola, celloScore and parts / 105 pages

Guise Jean François de Silence for chamber ensemble op. 23, No. 11 (2021) Silence, silence, that's how Jean François de Guise names his work op.23. No.11. In fact it is quite quiet, although there is never any silence and quite a large cast is required for this tonelessness. Even the complex rhythms that are ringing are incapable of creating unrest. The piece rests, as it were, in itself. Perhaps that is why it has the subtitle “for chamber ensemble” and not “chamber orchestra”? The composer is expressing his intention that everything should be as small as possible and really only simply occupied, so as not to produce an orchestral sound that just sounds quiet. Despite the 12 players, a small chamber music emerged that makes use of a color that almost has a meditative character. Only a look at the score reveals how difficult the work is and how precisely you have to work in order to transform the score into silence.  2 percussion sets, flute, alto flute, clarinet, bass clarinet, 4 timpani, marimba, violin, viola, cello  Score and parts / 65 pages

Humperdinck EngelbertEvening blessing from the opera "Hansel and Gretelfor 4-part choir a capella(ad lib. with accompaniment of a small orchestra)Arranged by Franz KreuzlingerEngelbert Humperdinck's "Abendsegen" from the fairy tale opera "Hänsel und Gretel" is certainly one of the most popular works, not only during the Christmas season. Franz Kreuzlinger succeeded in transferring the original version into a four-part, easily executable choral setting without having to greatly reduce the rich harmonies and fine counterpoint.The new version can be performed by a choir a capella or with the accompaniment of a small orchestra.The version is particularly suitable for use in youth, amateur or school orchestras. See also on YouTube: Franz Kreuzlinger choral score / 2 pages // score / 5 pages // parts / 11 pagesOne score, one set of parts and 16 choral scores are supplied.Please order additional choral scores separately

Molter, Joh. MelchiorSinfonia in F major BrinzingMWV 7.14 for 2 flutes, oboe, 2 trumpets, timpani, 2 violins, viola and basso continuo New edition after the original in the Badische Landesbibliothek Karlsruhe: Signatur Mus.hs.615 score & 12 parts / 98 pagesscore / 46 pages12 parts / 52 pages

Pokorny, Franz XaverConcerto in G major for oboe solo 2 flutes, 2 horns 2 violins, viola and bass New edition based on the autograph scorein the princely court library Thurn- und Taxis; Regensburg; Sign.: Pokorny 164.   Score & 9 parts / 91 pages

Pyotr Ilyich Tchaikovsky Andante cantabile (from "Contrastes") Arranged for a small ensemble by Franz Kreuzlinger Fl, Kl., Fg, Vibrafon / Kb., Kl, Vl, Vla, Vc, Kb Score & 9 parts / 15 pages

Franz Xaver RichterSinfonia in D flat majorfor 2 trumpets, timpani, 2 oboes, 2 violins, viola and basso continuoNew edition after the original in the music department of the technical university of Darmstadt. Signature 886/7 score & 9 parts / 77 pagesscore / 49 pages9 parts / 28 pages

Tessarini, CarloConcerto No. 1 in E minorfor violin solo, 2 violins rip., viola and basso continuoCarlo Tessarini was an Italian violinist and composer. He came from Rimini and was probably Vivaldi's student. Until 1731 he was head of the Ospedale del Derelitti, one of the 4 orphanages in Venice. In addition to a job in the music band in Urbino, he was Kapellmeister with Cardinal Schrattenbach in Brno. Concert tours have taken him across Europe. He probably died in Amsterdam. He composed melodramas, violin sonatas and concerts for one or more instruments.Performance score & 5 parts / 35 pages