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 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

Guise Jean François deBrass cantata for Palm Sunday op. 7, no. 13In the portfolio of brass music, original compositions of a cantata are still quite rare. In most cases, they are more or less successful arrangements. The fact that Johann Sebastian Bach occupies a special place there is due to the fame and popularity of his cantata work.But there are hardly any works to be found that come close to what might be considered new church music.Even in the compositions for wind ensembles, especially those for wind choirs, a contemporary tonal language rarely occurs. Rather, the composers resort to arrangements of popular music or jazz, or assimilate themselves to this sound structure.Jean François de Guise, who has always written music for the church, attempts here to introduce a somewhat different sound into the traditional church cantata.The basic conception follows the claim that this piece can also be played by good wind choirs. The composer does not use extended playing techniques or microtonality. Nevertheless, new sounds are created, which are considered established in the worship service in very few churches so far.The individual small pieces of music, which Jean François de Guise uses as preludes and interludes, can also be played separately, so they do not necessarily have to be heard only within the cantata. The variety of instrumentations makes this possible even for smaller ensembles. An eloquent example is the Intrada.The enclosed "Piano reduction" serves only the singer, and is therefore not suitable for performing the piece with voice and piano only. This follows from the fact that important tone colors created by the instruments used cannot be represented on the piano.If possible, each voice should also be cast in single voice only, if only for reasons of intonation and tonal balance.2 trumpets, 2 trombones, flugelhorn, piano reductionscore & 5 parts with piano reduction / 121 pages

Guise Jean François deFantasy for Woodwind Quintet op. 17, no. 23Fantasy for Woodwind Quintet, a piece in which the rhythmic structure is in the foreground, was written in 2021.Here the composer incorporates motifs that are only indirectly related and, at first glance, are meant to seem improvisatory.However, a musical link here is the extended 12-tone technique used.12-tone technique. Also, the notated articulation and dynamic balance are to be taken as important as the structure of the work itself.The resulting sound structure, however, has the overall effect of a classically composed work and certainly holds traditional forms and tone colors in store for the listener.In this piece, too, Jean François de Guise sticks to using first the possibilities of the instruments and those of their players before expanding these limits with more advanced playing techniques.fl, ob, clar, hn, fagscore & 5 parts / 45 pages

Guise Jean François deShort effectfor brass ensemble op. 17, no. 19As the title suggests, Jean François de Guise uses short motifs and effects, but these are generated conventionally, through the use of various mutes and articulations. The composer, himself a trumpet player, does not make it easy for the ensemble. He demands high precision at all times, great playing skill and a permanent musical and rhythmic coordination among themselves.Nevertheless, there is room for each wind player to leave his own individual fingerprint. The respective players are free insofar as they always have to act soloistically in their passages. All of this then comes together again in a chamber-musical way to form the whole.Due to the level of playing required, this piece is almost only adequately playable by the elite of brass ensembles. However, this piece is worth every effort of rehearsal, as a gem of brass music comes out in the end. The piece offers the audience interesting sounds and makes them want to hear it again right away.2 trumpets in Bb, horn in F, trombone, tubascore & 5 parts / 27

Guise Jean François deWind Quintet op. 17, no. 18The work, from 2018, takes on the classical instrumentation of a woodwind quintet.The arrangement freely follows tradition, but makes use of serial sound patterns, which are carried forward by multiple rhythms.In the further course of the piece, soloistic passages take up space before the ensemble raises points of sound which continue to thin out until the end and finally find their end in a single note.Jean François de Guise here gives wide scope to the compositional architecture, but does not abandon his conviction that the music is also justified.Thus, both the "new music enthusiast" and the casual listener can expect something from the piece and find something of interest.fl, ob, clar, hn, fagscore & 5 parts / 33 pages

Guise Jean François deWoodwind Quintet op. 17, No. 9The work Woodwind Quintet op.17, No.9 was composed in 2015.The work presents itself very melodious and warm in sound, although it definitely uses a contemporary tonal language. All instruments are used according to their timbre, which additionally strengthens the traditional impression the composition gives.The bassoon's opening motif is taken over in fragments in the other voices, changed further and further and developed rhythmically.In this way, a piece of chamber music gradually emerges that captivates its listeners. That the work has a short duration is peculiar to most of Jean François de Guise's works. Especially with such a piece, one would wish to hear more. But, sometimes less is more.Fl, Ob, Clar, Hn, Fagscore & 5 parts / 52 pages

Guise Jean François deAttenta considerazionedel Quintetto di Fiatiop. 17, n. 3The piece goes back to an incident that happened in 2008 in the composer's private life, where a "careful examination" was inevitable. Also, the fact that the work is considerably calmer and more tonal than what Jean François de Guise otherwise strives for in his chamber music reflects the quandary he was in at the time.Initially, he considered the piece itself too melancholy to be performed.However, during rehearsals in 2009, it became clear that the reflective mood was tremendously focused and created a space in which only the sound was essential and could not be distracted by anything.This tension conveys pure power.The "open" end of the work remains in one's thoughts for a long time, indeed, one has a feeling that one hears the piece sounding even further or that it continues to compose itself independently.flute, oboe, clarinet, horn, bassoonscore & 5 parts / 38 pages

Guise Jean François deLa caravanepour quatuor de cors en fa et tubaop. 17, no. 2Jean Francois de Guise was born on 15.05.1970. He received his first musical lessons in 1976 in recorder. From 1977 the trumpet became his main instrument, to which in the following years were added the subjects of music theory, composition, piano and organ, as well as conducting and singing. From 1991 to 1996 he studied in Paris, among other places.His teachers included Jean Langlais, Sergiu Celebidache and Rolf Reuter. De Guise was particularly influenced in composition by the American composer Elliott Carter.For many years he worked as a solo trumpeter and conductor with renowned orchestras before devoting himself almost exclusively to composition and teaching.De Guise's compositional output includes some 450 works, including 4 operas and 32 orchestral concertos.He is currently active as a freelance composer, organist and lecturer.In his compositions Jean Francois de Guise uses various techniques. Thus, he also uses forms of serial technique, especially that of the extended 12-tone technique. In the broadest sense, his compositions can thus be classified as free-tonal music (New Complexity Music). In his music he tries to make sound, rhythm and formal language transparent for the performer and finally also for the listener. Jean Francois de Guise often uses very difficult, finely worked out structures and motif forms, whereby compositional connections only become evident in the interplay. For this reason, his works demand a great deal of precision and exact intonation from the players. This is further reinforced by the fact that de Guise generally avoids doubling in notation and takes care to create a chamber music-like sound even in orchestral works. Many of his works are only playable by specialists in contemporary classical music and are also aimed at the instrumental elite.Probably for this reason several of his works are already part of scientific publications and are also used as a working basis for young composers.4 horns; tubascore & 5 parts / 18 pages

Kreuzlinger Franz Musiche seriosefor wind quintetEach of the six movements (Preludio - Fughetta - Interludio - Meditazione - Visione - Fanfara) is based on a more or less strictly executed rhythmic, compositional or contrapuntal model. From this develops a strict, but always playful, free-tonal and colorful music for wind quintet.flute, oboe, clarinet in Bb, horn in F, bassoonscore and parts / 44 pages