Boccherini, Luigi2. Quintett für Klavier und Streichquartett, F-Dur, op. 56/2; G 408 (1797)PRAKTISCHE NEUAUSGABE nach dem frühen Druck von 1800: “SIX QUINTETTI pour Piano avec Accompagnement de deux Violons, Alto et Violoncelli par Luigi Boccherini oeuvre 46 1er livre Prix 5 frs. Gravés par Richomme / à Paris chez Pleyel, Neuve des Petits Champs No. 728 ...” Pl.-Nr.: 247
Klavierpartitur & 5 Stimmen / 62 Seiten
Boisdeffre, René deKlavierquintett, d-Moll, op. 11 –Reprint der Ausgabe von Paris: J. Maho, n.d.(ca.1875). Plate J. 1127 M. Nachdruck: J. Hamelle, n. d. (nach 1877).Pf, 2 Vl, Va, VcPf-Partitur & 4 Stimmen / 125 Seiten
Cramer (Kramer), Johann BaptistKlavierquintett (Forellen-Besetzung) Nr. 1, h-Moll, op. 60 (~1819) –«Grand Quintetti pour le Piano, Violon, Alto, Violoncelle et Contrebasse, dédié à William Shield Esq. et composé par son Ami J.B.Cramer.» – Reprint der Ausgabe: Paris : Richault (Simon), PN: 211.R.Vl, Va, Vc, Kb, Pf5 Stimmen / 56 Seiten
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Cramer (Kramer), Johann BaptistKlavierquintett (Forellen-Besetzung) Nr. 3, B-Dur, op. 79 (1832) –«Quintetto » – Moderne Edition im Kammermusikverlag (Erstausgabe)Hrsg: Rob de KockVl, Va, Vc, Kb, PfPartitur & 5 Stimmen / 128 Seiten
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
Debussy, Claude
Claire de Lunefrom the Suite Bergamasque
for clarinet in A (alternatively clarinet in Bb),
violin, viola, violoncello and piano
Arranged by Philipp Matthias Kaufmann
Matthias Kaufmann (*1970) is a Cologne based freelance arranger and composer. He mainly develops symphonic formats for children‘s and family concerts, but also writes arrangements and original works for chamber ensembles. His clients include youth and professional orchestras from the Children‘s Orchestra of North Rhine-Westphalia to the Berlin Philharmonic.
Claire de Lune is one of Claude Debussy‘s best-known piano compositions. Its timeless beauty and popularity make it in some ways indestructible, so it certainly stands up to arrangements. In addition to the clarinet, three strings join the piano in this version. As in a miniature orchestra, the strings sometimes carry and weave around the floating clarinet, but also appear as soloists. Of course, the piano has to give up a few lines to the other instruments here. But carried by gentle ensemble sounds, it also shines in a new light.
Perhaps Debussy would have done it differently. But hopefully he would have enjoyed it.
Piano score & 5 parts / 23 pages
Dubois, ThéodoreKlavierquintett, F-Dur (1905) – «Quintette pour Violon, Hautbois ( ou second Violon, ou Clarinette), Alto, Violoncelle et Piano» – Reprint der Ausgabe: Paris : au Ménestrel (Heugel), VN: H.&Cie 23,286, c1907Vl1, Ob / Cl (B), Va, Vc, PfPf-Partitur & 5 Stimmen / 108 Seiten
Dussek, Johann LadislausKlavierquintett (Forellen-Besetzung), f-Moll, op. 41 (1799) – «Grand quintetto pour le pianoforte avec accompagnement d'un violon, alto, violoncelle obligés et contrebasse (ad libitum)» – Reprint der Ausgabe: Leipzig : Breitkopf & Härtel, K.M.858Vl, Va, Vc, Kb, Pf5 Stimmen / 40 Seiten
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,
Guise Jean François deCompositionfor five instruments op. 17, no. 22In the first year of the Corona pandemic, 2020, Jean François de Guise created this quintet. A composition that seems to reflect the chaos and uncertainty, but actually just continues the path that the composer began to follow since working with Elliott Carter.The instrumentation and the layout of the piece clearly prove this.Structures and their composition are the basis for the resulting work, so it is not as usual that a theme determines and drives the overall work. Nevertheless, Jean François de Guise wants to make music with conventional means, that is, with real tones.The choice of the extended 12-tone technique as the basis of his sound conception proves once again to be obvious here.The work is intended for ensembles that are in the professional field, since it requires an understanding of rhythm, a sophisticated playing technique and intonation, as well as an unconditional flexibility.flute, clarinet in Bb, violin, violoncello, pianoscore & 5 parts / 52 pages
Guise Jean François deFigmentfor piano and small chamber ensemble op. 17, no. 13The score reveals that Jean François de Guise presents a quintet composed of two independent ensembles.The piano separates the woodwinds from the strings, but in doing so it operates in both interests, almost diplomatically leading them into one overall work without imitating their sound structure.The listener must be very attentive to hear through the basic concept. For, Jean François de Guise, who always composes from the overall sound, does not want to present an intellectual didactic piece, but wants to offer a piece of music worth listening to.But if one knows about the arrangement, it is easy for every listener to perceive the two groups.flute, clarinet in B-flat, piano, viola, violoncelloscore & 5 parts / 20 pages
Guise Jean François deQuintetfor a chamber ensemble op. 17, no. 21Jean François de Guise uses in this quintet an instrumentation recruited from the chamber orchestra.In fact, the piece was born from the idea of using part of the orchestra for a single work and then performing it at the beginning of the second concert program item.So this time it was not the obligatory soloist concert that was to be heard, but a pure chamber music work.Unfortunately, this project could not be realized because the imposed "lockdown" in 2020 prevented it.Thus, a world premiere is still pending for this work.The piece captivates with a clarity and beauty of sound, which are created by the design means of the applied compositional technique, the extended 12-tone technique.The musicians are challenged to perform musically to the highest degree.So here is the opportunity, as in romantic works, to bring in feelings and own ideas.flute, clarinet in Bb, piano, violin, horn in Fscore & 5 parts / 41 pages
Guise Jean François deQuintetfor Flute, Clarinet, Violin, Cello and Piano op. 17, no. 11A quintet in this instrumentation seems unusual at first sight.Even more surprising, however, is the fact that it is not really a quintet.One also wonders whether the designation "quintet" is correctly chosen?With a performance duration of less than two and a half minutes and with an ending that surely would have left room for more, the title could very well be Fragment or Splinter.When I first had the score in front of me, with a total of only 8 pages and 32 measures, this thought already occurred to me.Thrown down, still unordered, almost unfinished seemed the thoughts of the composer, who is known for relatively short pieces, but also for the excellent execution of his works.Jean François de Guise, however, knew what he was doing!Every measure, indeed every note more, would have irreparably destroyed the piece.He lets the musical material work purely, does not work on variations, but at the same time achieves that every note becomes evident. Nothing distracts, nothing is rolled out and invalidated.Jean François de Guise, who pursues his own concept in each work, who sets himself a self-imposed task, does not compose with the thought of possible performances in mind anyway, since he regards his works rather as "compositional finger exercises". He wants to show himself authentically and take interpreters and listeners into his world of sound.So my conclusion is: exciting to listen to, and definitely play again and again.flute, clarinet in Bb, piano, violin, violoncelloscore & 5 parts / 21 pages
Guise Jean François deQuintetfor Piano and winds op. 17, no. 15Rhythm is the determining factor in this quintet, which was written in 2016. And, although the individual voices seem to act almost solitarily, the compositional architecture ties everything together and leads to a dramaturgy in the piece that is typical of Jean François de Guise.Thus, he actually brings the work to an end already in measure 86, after about 5:20min, also typical for Jean François de Guise that he chooses very slow forms here, which, although they take up the structure of the beginning again, lead to a completely different result, almost as if one would create a different spatial structure with a new color.But, even with a conclusive, perfect conclusion, the composer does not leave it alone.And, he is right!In the last 7 bars, with a little over a minute of sound duration,de Guise shows how a composer can captivate with few means.The clarinet and horn take the floor once again before the piano closes the piece with the last three notes.Yet it continues, as the composer notes another three fading measures, the last of which he even provides with a long fermata.Jean François de Guise shows the listener how the vibrations gradually diminish and thus demands tremendous courage from his performers to remain silent.oboe, clarinet in Bb, horn in F, bassoon, pianoscore & 5 parts / 44 pages
Guise Jean François deQuintetfor Violin, Viola, Violoncello, Bass Clarinet in B and Piano op. 17, no. 20A string trio amplified with bass clarinet and piano becomes a quintet, that was the intention of Jean François de Guise.Does the string trio act independently of the two players or should it rather become a conglomerate of the possibilities of all?This question is not quite as easy to answer as one might think.As string trios have impressively demonstrated time and again, they are quite capable of playing in a multicolored and structurally rich manner and do not need any help. The piano, as a solo instrument, is also hardly suspected of needing amplification, unless it acts as an accompanist from the outset. Now there remains the bass clarinet. Although the clarinet per se has established itself in orchestras and as a solo instrument, it is still used as a secondary instrument. In the solo field there is a very special obstacle in that some works are not playable by all instrumentalists. In the development of construction technology, two systems emerged on an equal footing, the "German system" and the "French system" (Boehm clarinet). Due to the different number of keys and their different arrangement, it is often difficult to play the pieces. In the last decades clarinettists created works where this instrument also shows what it is capable of.Various textbooks on modern playing techniques help to broaden the understanding of the instrument, but always refer to the respective system. Moreover, the success of the "little" sister cannot be easily transferred to the bass clarinet. Here, there is almost only orchestral literature, and these few works are not soloistically expressive. Jean François de Guise, however, uses the instrument a lot, probably also because the clarinet plays an important role within the family.In this quintet the bass clarinet arranges everything and connects both "soloists" to a great whole without negating their own sound strengths. If one takes on this work, success becomes palpable as a reward.violin, viola, violoncello, bass clarinet in Bb, pianoscore & 5 parts / 62 pages
€44.00*
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