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
Boccherini, LuigiSinfonia Concertanteauch: „Notturno“ oder „Oktett“G-Dur, op. 38/4; G 470 (1787)Praktische Neuausgabe nach der Erstausgabe: « Simphonie Concertante / à huit instruments obligé /pour deux violons, deux violoncelles, alto, oboe ou flûte, cor et basson / par L. Boccherini / op: 41 - prix 6 Fr - à Paris, chez Pleyel, auteur rue Neuve des Petits Champs .. » PN 140, c1798 für Oboe (Flöte), Horn & Fagott, 2 Violinen, Viola, 2 Violoncelli oder Violoncello & Basso (Arr.)Partitur & 9 Stimmen/ 79 Seiten
Johann Friedrich FaschConcerto in G majorfor 2 oboes, bassoon, violin solo, 2 violins rip., viola and basso continuo (FWV L: G 5)New edition after the original in the Landesbibliothek Mecklenburg-Vorpommern Günther Uecker Schwerin, Signatur: Mus 1794score & 8 parts / 62 pages
Guise Jean François deDie Saale als Kanalfigurative abstractionfor 8 double basses and 1 metronomeop. 23, no. 1 (2003)This work was commissioned by the double bass player and artistic director of the Bass Violin Gala, Ingo Burghausen, in 2003 and premiered the same year.Since one of the venues is Bernburg/Saale, it has always been "good manners" for the folk song "An der Saale hellen Strande" to be intoned at the opening.After the "Wende", there were repeated attempts to make the Elbe and Saale rivers, which were still largely in their natural state, permanently navigable, which would result in their conversion to dead canals interrupted by barrages.Such a proposal came up again in 2003. Broad sections of the population, across parties and social classes, revolted against it. After all, there would have been nothing left of the Saale's bright beaches, lined with proud castles.For this reason, Ingo Burghausen turned to Jean François de Guise. Both musicians agreed to take a stand with a musical protest and, contrary to tradition, to use the opening piece for this purpose.The composition is thus based on the folk song, whose melodic fragments run through the piece, but are constantly fragmented, counteracted and alienated. The special feature of the Bass Violin Gala, however, is that international virtuosos of the double bass stand side by side on stage with orchestra musicians, professors and students, i.e. also beginners, and show what the double bass is capable of.This challenge should also be taken into account in the present piece. That is why de Guise decided to divide the piece into 2 groups. In the first quartet there are parts to be played by beginners and advanced players, and the second quartet, staffed by the professionals, was given the much more difficult part. In addition, a constantly ticking metronome is used, which works unflinchingly, symbolizing the passing of time, against the meter of the players.Today we all know how right the initiator and composer were with their objection, which makes the work still highly topical and important.score & 8 parts / 30 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 deOctet for stringsOp. 23, number 3The “Octet for Strings” presented here can be realized by two string quartets as well as by a string orchestra.In general, the two groups should be set up separately from each other so that the chamber music structure is not only perceptible to the audience acoustically, but also optically.It is also highly recommended that the piece, regardless of the line-up, be conducted during rehearsals and performances.Jean François de Guise2x 1st violin / 2x 2nd violin / 2x viola / 2x violoncelloScore and parts / 211 pages
Guise Jean François deOctet for wind instruments
Op. 23, No.9
The mixture of woodwind and brass instruments is rather rare in classical chamber music. At most, this instrumentation can be found in symphonic wind music.
Jean François de Guise chose this formation because here he had a wide range of possibilities to draw a play of dominance and subordination.
Everyone may believe that the brass is ostensibly powerful, but that many passages, dominated by the wood, are subordinate and only gain audibility through rhythmic movement, seems less evident.
This octet makes audible what is often lost in modern orchestral music or is only filler. It creates the space for a music that otherwise remains hidden.
Flute, Clarinet in Bb, Bass Clarinet in Bb, Bassoon, Horn in F, Trumpet in Bb, Trombone, Tuba
score and parts / 83 pages
Guise Jean François deRhapsody for percussion, piano and accordionOp. 23, No 10 (2019)Rhapsody for percussion, piano and accordion, created in 2019, is conceptually a nonet. However, at least one percussionist is required who is able to play the rapid, rhythmic structures almost simultaneously on several instruments.The choice of the accordion as one of the main instruments is still uncommon in classical contemporary music, at least when one moves outside of “tango” or similar music influenced by Latin America.Jean François de Guise presents a piece here that is sure to surprise, as the title inevitably leads to associations with works with the same initial name.The logic of the title becomes evident if the term “rhapsody” is taken literally.Because an essential feature of a rhapsody is its loosely connected musical themes, which almost seem like incoherent fleeting thoughts, i.e. not necessarily based on one another or referring to one another.It is impressive to hear again and again that this work nevertheless follows a continuous “plan”. The interplay creates a togetherness that is due to the accordion, as a connecting but still soloist instrument, which ultimately turns the work into a small “solo concert” for the accordion. 4 drums, xylophone, marimba, vibraphone, piano, accordion Score and parts / 87 pages
Haß, ReimundOctet No. 2for 2 flutes, 2 clarinets (B-flat), 2 horns (F) and 2 bassoonsGrowing up in a Brandenburg village, east of Berlin, music has always played a major role for me.Piano lessons and music studies, during which I was trained as a horn player, were the result.After retiring, I returned to music theory and began to compose.Score & parts / 48 pages
Haß, ReimundWake up callA wind octetGrowing up in a Brandenburg village, east of Berlin, music has always played a major role for me.Piano lessons and music studies, during which I was trained as a horn player, were the result.After retiring, I returned to music theory and began to compose.I wrote the “wake-up call” in 2018, a time that can take such a thing.Everyone can follow my musical ideas if they are ready.Score & parts / 50 pages
Pohle, DavidStreichoktett, C-Dur (1650) – Sonata a 8 - Nr. 5 der Reihe: Kasseler Hofkapelle – 4 Vl, 2 Va, 2 Vc, B.c.Partitur & 10 Stimmen / 41 SeitenNr. 5 der Reihe: »Instrumentalmusik der Kasseler Hofkapelle im 17. Jahrhundert« Als Handschrift vorhanden bei der Uni-Bibliothek Kassel, Handschriften-Abteilung, Sign.: 2° Ms.Mus. 60gDas Werk - ursprünglich für die Besetzung mit 2 Violinen, 5 Violen und Basso (unbeziffert) geschrieben - wird als Partitur mit 10 Stimmen (4Vl,2Va,2Vc,B.c.) in heute gebräuchlichen Schlüsseln herausgegeben.
Prokofiev, SergeiMontagues and Capulets
op. 64thfor 8 violoncellos
Arranged for 8 violoncellos by Philipp Matthias Kaufmann
8 Vcscore & 8 parts / 24 pages
Schuberth, CarlStreichoktett mit Kb, E-Dur, op. 23 (1848) – Ottetto pour 4 violons, 2 altos, violoncelle et contrebassePraktische Neuausgabe nach der Erstausgabe im Verlag Schuberth & Co, Hamburg, [1848], PN 1189: > OTTETTO pour 4 Violons, 2 Altos, Violoncelle et Contrebasse (ou deux Violoncelles), composé et dédié à son ami le Docteur Nicolas Scharbau par Charles Schuberth, premier Violoncelle de S.M. l´Empereur de toutes les Russies etc., etc. <4 Vl, 2 Va, Vc, Kb oder 2 VcPartitur & 8 Stimmen / 198 SeitenPartitur / 86 Seiten8 Stimmen / 112 Seiten
Spohr, LouisDoppelquartett Nr. 1, d-Moll, op. 65 (1823) –Doppel-Quartett für 4 Violinen, 2 Violen und 2 Violoncelli –Repirnt der Ausgabe: « Nach dem Neudruck von 1845 revidiert und herausgegeben von Eugen Schmitz – BA 2303 / Bärenreiter-Verlag»4 Vl, 2 Va, 2 Vc (2 Streichquartette)Partitur & 8 Stimmen / 120 Seiten
