Guise Jean François deBassoon Quintet for Bassoon and String Quartetop. 17, No. 12Dedicating a piece to a two-time Pulitzer Prize winner, who is also his own mentor, shows on the one hand the great gratitude and appreciation for the friend and teacher, but on the other hand sets the bar for the assessment particularly high, since comparisons with the works of Elliott Carter do not increase are to be avoided.Jean François de Guise shows that techniques learned and the influence exercised by teachers do not necessarily lead to the original being copied. The independent tonal language and the use of the extended 12-tone technology allow Jean François de Guise to develop something of his own and yet show his mentor respect.The bassoon, which has a special position here not only because it belongs to its own family of instruments, is played as an active soloist in the piece. The string quartet not only accompanies, but also gives the work its own accents and twists, which the bassoon repeatedly joins. If you analyze the work, you will see that it actually represents a small “concert”.As almost always with compositions by Jean François de Guise, the focus is on the sound, which makes careful work on structure and intonation essential. The result that can be achieved, however, justifies any effort and shows that there is always something new to discover.Bassoon, 2 violins, viola, celloScore & parts / 67 pages
Guise Jean François deClarinet Quintet for Clarinet in Bb and String Quartetop. 17, No. 10In 2015 this quintet was born out of a collaboration with the cellist Ithay Khen.That the chosen solo instrument is the clarinet may be surprising, knowing that Ithay Khen is considered one of today's leading Israeli cellists. He appears not only as a soloist, but also as a member of various chamber music ensembles, where he gives way to colleagues as a soloist.However, if one takes a close look at the distribution of tasks in the quintet, one quickly notices that the clarinet and the cello act in a corresponding manner and that the cello develops motifs which the clarinet then takes over and expands in a varying manner. Even in the passages where these two instruments communicate directly with each other, the cello does not have an accompanying role, but rather functions as a duo partner.The violins and viola follow the two outside voices and complete the movement. The quintet that Jean François de Guise composed here has power and vitality. Like almost all of his works, of recent times, he deals here with a sound structure based on the extended 12-tone technique, which gives it its very own spheres of sound, rhythm and musical composition.clarinet, 2 violins, viola, violoncelloscore & parts / 31 pages
Dieupart Charles (Mr. Du Par)
Sonata in D minor
for oboe 2 violins, viola and basso continuo
New edition based on a set of parts in the British Library No .: 49599. Apparently a bundle of inter-act music by Bononcini, Dieupart and Finger.
Score & 5 parts / 23 pages
Dittersdorf, Carl Ditters vonConcerto in G major
for oboe, 2 violins,viola and bass
Notes on the edition:
There is: a handwritten set of parts with 6 parts, Oboe Concerto, Violino Primo, Violino 2do, Alto Viola, Basso, Basso o Violoncello and an autograph (?) score.
The title page of the set of parts reads: above Ditters 33 (added later), below Concerto a Oboe Solo. Violino Primo. Violino 2do. Due Corni. Alto Viola. e Basso. Next to Due Corni is the later addition ‘fehlen! Lower left a library note 39 p. Next to it the library stamp, lower right del. Sigr. Titters
Score, head title: Oboe Concerto del Sigr. Titters,
Instrument indication before the 1st system: V:P: V:2do: oboe: A:V. Basso. No horns.
3 movements: Maestoso C - Adagio C - Allegro 2/4
I used the score for this edition, although it is often difficult to read due to the many cancellations and additional written notes with vi=de indications. The 2nd movement contains considerably more extracts for the solo oboe than the part of the vocal score. The musical text is essentially error-free. In movement 2 in violin 1, I have changed the fourth 8th note from e to d in bar 12. The set of parts also contains e, but d seems more correct to me. Changes of accidentals are in brackets, as are dynamic additions. Added slurs are shown in dotted lines.
The bracketed forte at the beginning of movement 2 is by the editor, not in the sense of loud, but not piano. In movement 3, from bars 17-24, the notes in Violino 2do are held in both directions. In movements 2 and 3 there is a crescendo from time to time, but here with ‘t’ crescento. I have included this. The concerto can easily be played without horns. Of course it would be possible to add 2 horn parts.
Score & 5 parts / 64 pages
Endler, Joh. SamuelOuverture in C minorfor oboe, 2 violins, viola and basso continuo
New edition according to the original in the
Music Collection of the Technical University of Darmstadt:
Signatur Mus.ms. 261/4.
Score & 5 parts / 81 pages
Fesca, Friedrich ErnstQuintet in C major, op. 22 (1821)for flute, 2 violins,viola & violoncelloPractical new edition after the first edition: " Quintuor pour Flûte, deux Violons, Alto et Violoncelle / Composé et dédié à Monsieur E. Eller / par F.E. Fesca / op 22 . Prix 8 F " - Bonn et Cologne chez N. Simrock, PN 1778 " [c1821] Proof of original : Stadt Leipzig - Stadtbibliothek Leipzig - Musikbibliothek, sign. : PM 12597fl, 2 vl, va, vcscore & 5 parts / 124 pagesscore / 54 pages5 parts / 70 pages
Forester, ChristophConcerto in B flat majorForOboe, 2 violins, violaand basso continuoNotes on the edition:Christoph Förster received his first music lessons in his hometown Bibra. Later he was a student of Joh. David Heinichen. He got a job as a violinist in the Merseburg court orchestra and became concert master. Towards the end of his life he was vice conductor in Rudolstadt, where he also died. He composed secular and sacred cantatas, overtures, symphonies and many instrumental concerts, including some for oboe.Score & parts / 64 pages
Fuchs, RobertKlarinettenquintett, Es-Dur, op. 102 (1919)«Quintett für Clarinette (od. Bratsche), 2 Violinen, Bratsche und Violoncell von Robert Fuchs» / Seinem Freunde, dem Hofrat Dr. Theodor Ritter von Brücke gewidmet. – Praktische Neuausgabe nach der Ausgabe: Wien : Adolf Robitschek, VN: A.R.5402; [c1919]Cl(B), 2 Vl, Va, Vc (oder Solo-Viola statt Klarinette)Partitur & 5 Stimmen / 126 SeitenPartitur / 54 Seiten5 Stimmen / 72 Seiten
Gassmann, Florian Leopold6 Flötenquintette, in: Es, G, F, Es, E, F-Dur, op. II = 2 oder 11? (~1770) – «Sei Quintetti Dilatamenti Notturni o sia Serenate, per Violino primo o Flauto, Violino secondo, Due Viole e Basso» – Reprint der Ausgabe: Paris : Bureau d'Abonnement de Musique, ohne PN, [ca.1770]2 Vl, 2 Va, Vc oder Fl, Vl, 2 Va, Vc5 Stimmen / 40 Seiten
Guise Jean François deSolo cantata
based on Psalm 31 (HFA)op. 7, No.16
Original cantata compositions are still quite rare in the portfolio of brass music. In most cases, they are more or less successful arrangements. The fact that Johann Sebastian Bach occupies a special place here is due to the fame and popularity of his cantata work.
However, 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 musical language is rare. The composers tend to use arrangements of popular music or jazz, or adapt to this sound structure.
Jean François de Guise, who always wrote music for the church, attempts here to introduce a somewhat different sound to 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 any extended playing techniques or microtonality. Nevertheless, new sounds are created that are considered established in worship in very few churches.
The individual short pieces of music that 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 instrumentation also makes this possible for smaller ensembles. The Intrada is an eloquent example of this.
The accompanying piano reduction is only for the singer and is therefore not suitable for performing the piece with just voice and piano. This follows from the fact that important tone colors, which are created by the instruments used, cannot be represented on the piano.
If possible, each part should also only be scored for one voice, if only for reasons of intonation and sound balance.
Trumpet in Bb, tenor horn, trombone, viola, piano
Score & 5 parts with piano reduction / 84 pages
Gyrowetz (Jirovec) Adalbert
Quintet in C major for oboe, violin, 2 violas and violoncello
First edition based on the original in the Badische Landesbibliothek Karlsruhe Sign .: DonMusMs 582
Ob, Vl, 2 Va, Vc
Score & 5 parts / 77 pages
Gyrowetz (Jirovec) Adalbert
Quintet in C major for oboe, violin, 2 violas and violoncello
First edition based on the original in the Badische Landesbibliothek Karlsruhe Sign .: DonMusMs 582
Ob, Vl, 2 Va, Vc
Score & 5 parts / 77 pages
Kreuzlinger Franz
Christmas Peace
Pastorella for small ensemble(flute, violin, clarinet, double bass and horn)
„“Peace on earth” proclaimed the angel to the shepherds at the birth of Jesus. This short instrumental movement was composed in the tradition of the pastorale, as heard in Bach's Christmas Oratorio. Alternating between traditional major-minor tonality and modal inflections and determined by finely interwoven contrapuntal structures, it creates an exciting colorfulness.
Score and parts / 9 pages
Franz Xaver RichterConcert in G minor
for Oboe, 2 violins, viola and basso continuo
New edition based on the original in the Sayn-Wittgenstein Court Library - Bad Berleburg, signature: BER MU BE 0785
Score & 5 parts / 56 pages
Ritschel, Johannes6 Flötenquintette, in: G. D, F, a, C, A (1763) – «Sei Quintetti per Flauto Violino Violoncello Alto et Basso del Signor Ritschel» – Reprint der Ausgabe: Paris : Madame Berault, A.P.D.R. - PN:ohne (5 Stimmen)Fl, Vl, Va, Vc, Basso (Vc2 oder Kb)5 Stimmen / 64 Seiten
Saint-Saëns, CamilleBassoon SonataG major op. 168arrangement for bassoon and string quartetoriginally for bassoon and pianoarranged by Wim ten Havescore & 5 parts / 55 pages
€39.00*
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