Bach, Johann SebastianSinfoniaon the council election cantata "We thank you, God, we thank you" (BWV 29)for piano four handsEdited by Franz KreuzlingerAbout the work: The present arrangement transcribes the touching opening sentence of the cantata “We thank you, God, we thank you”, which in turn is an adaptation of the Preludio of the E major Partita BWV 1006 for piano four hands. The result is a piece that is both solemn and virtuoso, which lets Bach's timeless music shine on a modern grand piano.Piano for four handsPerforming score / 12 pages

Bach, Johann SebastianSuiten für Violoncello Solo – Volume I Suite Nr. I. G-durSuite Nr. II. d-MollSuite Nr. III. C-Dur Modifications made by Richard Klemm Score / 50 Pages During his cello lessons in the academy or at home our father Richard Klemm usually accompanied his students either on the piano or with the cello. This applies to all kind of cello music, including the big cello concertos as well as chamber music.

Bach, Johann Sebastian Suiten für Violoncello Solo – Band II Suite No. IV. E flat majorSuite No.V in C minorSuite No. VI. D major Modifications made by Richard Klemm Score / 60 Pages During his cello lessons in the academy or at home our father Richard Klemm usually accompanied his students either on the piano or with the cello. This applies to all kind of cello music, including the big cello concertos as well as chamber music.

Blanc, AdolpheSeptuor op. 54 pour Piano, Flûte, Hautbois, Cor, Alto, Violoncelle et Contre Basse for piano, flute, oboe, horn, viola, violoncello and contrabass score & 8 parts / 221 pages score / 109 pages 8 parts / 125 pages

Blanc, AdolpheBläser-Str.-Septett, E-Dur, op. 40 (1860)«Septuor pour Violon, Alto, Clarinette, Cor, Basson, Violoncelle et Contrebasse» -Neu herausgegeben von Reinhard GrollVl, Va, Vc, Kb, Cl, Hn, FgPartitur & 7 Stimmen / 175 SeitenPartitur / 76 Seiten7 Stimmen / 99 Seiten

Boisdeffre, René deKlavierseptett mit Bläsern und Kontrabass, G-Dur, op. 49 (c1877) –  «Septuor pour piano et instruments á vent  -  II. Scherzo / par René de Boiddeffre – op. 49»Reprint der Ausgabe:  Paris : J. Hamelle (früher: J. Maho), VN: J.264.(2).H. [ca1877] / hier: 2. Satz: ScherzoFl, Ob, Cl(B), Hn(Es), Fg, Pf, Kb Pf-Partitur & 6 Stimmen /40 Seiten

Camille Saint-SaënsLe Carnaval Des Animauxarrangement for pianooriginally for orchestra and two pianosarranged by Michael SchorchtV. L'EléphantVII. aquariumX. VoliéreXIII Le Cygne Piano / 11 pages

Dittersdorf, Carl Ditters vonConcerto C major forOboe, 2 horns,2 violins, viola and bass Edition notes: Movement 1 has a written-out cadenza for the solo oboe after 11 measures of the 1st solo and one, as usual, at the end of the movement; movement 2 has another also at the end of the movement. Apart from 2 wrong notes, the score is error-free. The 2nd page of the Largo in the solo oboe is somewhat confused, due to corrections or deletions. The 2nd half of bar 18 and bar 19 are at the beginning of the 3rd system, the following bars are in the 1st and 2nd system. After measure 26, the musical text jumps into the 5th system after the deletion of the originally intended measures 20-26. These are corrected, as mentioned, in the 1st and 2nd system. The cadenza is after the two tutti final bars. The interpretation of the now and then notated serpentine lines over notes with staccato dots is not quite easy. They may stimulate the interpretation fantasies of the soloists.  Special expressivity or tempo modifications would be possible.   Changed or added dynamics are in parentheses. Some of these dynamic indications in parentheses are from the editor. Changes in accidentals are also in parentheses. Adjusted slurs are indicated in dashed lines.   Score & 7 parts / 62 pages

Dittersdorf, Carl Ditters vonConcerto C major forOboe, 2 horns,2 violins, viola and bass Edition notes: Source: Fürstliche Hofbibliothek Thurn-und Taxis, Regensburg, shelfmark Dittersdorf 30. Copy of parts from around 1780 with 8 parts. Oboe Obligato - Violino primo - Violino Secondo - Corno Primo in D - Corno Secondo in D - Alto Viola - Basso Continuo - Basso Ripieno. The title page reads: top left Ditters 30, next to it: Concerto in D (key added later) below à Oboe obligato (clarino, added later, difficult to read), Violino Primo Violino Secondo II Violini rip. (there are no parts for this) II Corni in D: Violetta e Basso cont. and Basso ripieno (added later). Below Incipit, the first two bars of violin 1 of movement 1. To the left of Basso cont. Del Sigr. Carlo Ditters: 46.S and the library stamp at bottom left. 3 movements: Allegro C - Adagio C - Allegro assai ₵ There are some corrections and deletions in the oboe part. At the end of movement 1 there are 7 staves with cadence drafts, all crossed out, most of which can be restored. There are also corrections with references in movement 2. The final version for bars 17 to 20 can be found in the lowest stave on the page. The last two bars are 3 staves above. In movement 3 there are only a few corrections within the bars. After 'Il Fine' there are 5 staves with draft cadences, all of which have been made unrecognizable. On the following page there are again draft cadences, of which 5 staves appear to be recoverable. The cadenza written underneath was probably played, as it is not crossed out. For the edition, I have chosen the draft from oboe part page 6, 5th system from the top for movement 1. For movement 2, page 13 of the manuscript, staves 3 and 4, as it is written in the key of G major, and for movement 3 the cadenza staves 6 and 7 mentioned above, which is not crossed out. In the cadenza for movement 3, I changed the note c to b at the second crotchet ascent towards the end of the cadenza, which seemed more logical to me. In violin 1 and 2, there are more than 10 alterations of the accompanying notes in each part of movement 2. In horn 2, movement 1, bar 129, half note quarter note and quarter rest should be meant. In the ms. the crotchet note and crotchet rest are interchanged. In the last bar of movement 1, a dotted note should be meant on m. 2 instead of 2 equal 8th notes. In the alto viola part, the notes in movement 1, bar 25, should be a instead of g. Here the copyist has confused bass clef and alto clef. Altered or added dynamics are in brackets, as are accidental changes. Adjusted slurs are indicated with a dotted line. Score & 7 parts / 86 pages

Ebenhöh, Horst Atemstücke für Klarinette solo in A op. 104, 1 a-d Partitur / 6 Seiten schwer - Spieldauer ca. 8 Minuten. „ATEMLOS“ – Affanato /„LANGER ATEM“ – Allegretto / Bindungen über mehrere Takte: hier kann der Ausführende beweisen, dass er eine optimale Atemtechnik besitzt./ RUHIGEN ATEMS“ – Adagio bis Andante möglich, mit zahlreichen Viertelton-Glissandis nach oben / „KURZER ATEM“ – Allegro Ein vitales Stück mit „tiefsten Tönen“ (in der Mitte) und „höchsten“ (am Schluss). Und vielen Pausen, die den Eindruck der Kurzatmigkeit vermitteln.

Ebenhöh, HorstCycle for HarpsichordC major op. 51,3<heavy> 19 minutesAllegretto - Andante, molto moderato -Allegro - Moderato - Allegretto - Vivo-VivaceA concert work composed "tonally" for the harpsichord. The composer does not wish any interpretation on the piano.24 pages

Ebenhöh, Horst Extrakt für Violoncello solo op.  66, 2 Das im Jahr 1985 geschriebene “Konzert für Violoncello und kleines  Orchester wurde 1988 von Ricardo Bru  in einem Konzert im Großen Sendesaal des ORF öffentlich uraufgeführt. Die Darbietung gelang hervorragend, sodass der Mitschnitt wie eine Produktionsaufnahme gewertet werden konnte und auch ein Teil der ORF-CD „edition zeitton“ (Nr. 250) geworden ist.  Im Auszug („Extrakt“) für Solocello, op. 66, 2 wird Musik aus dem ersten Satz des Violoncellokonzertes op. 66 vorgestellt, formatisiert auf Solocello, wobei die ersten Dutzend Takte unverändert, d.h. ident sind mit der originalen Solostimme. Der Beginn liegt in der sonoren tiefen Lage, der Mittelteil bietet mehr Bewegung und bedient auch die hohen Lagen des Instruments. Am Ende blendet die Musik - pizzicato - langsam aus, nicht ohne durch ein unüberhörbares sforzato den Schlusspunkt zu setzen.  Partitur A4 / 3 Seiten

Ebenhöh, HorstFour Bagatelles for Clarinet E flat soloop. 104,4<Difficult> ca. 8 minutes U: 2007 Vienna CD "Klarinettenklang CD".Moderato - Presto scherzando - Poco adagio, tranquillo - AllegroVaried solo pieces for clarinet in E-flat.Voice / 7 pagesPresentation of all registers of the E-flat clarinetModerato: Bagatelle with great contrasts. Presto scherzando: Minischerzo with short and simple "trio". After the repetition 5 bars coda and ending without ritardando. Poco adagio, tranquillo: With long notes given time to develop and to trace subtle differences in volume. Allegro: For this movement, parts of the solo part of the Clarinet Concerto op.94 (from its first movement) were used. The "Intermezzo for bass clarinet solo op. 104, 5" also resembles this Allegro in notated form over large parts and is suitable for tonal comparisons between E-flat and bass clarinet.

Ebenhöh, HorstIntermezzo for bass clarinet soloop. 104, 5<difficult> single movement / 2-3 minutes U: 2007 ViennaSolo piece for study and concert. Based on parts of the 1st movement from the Clarinet Concerto op.94, but not identical with it (compare also the 4th piece - Allegro - from op.104, 3!).Part / 2 pagesWithout own tempo indication. The "Intermezzo" can be performed rhapsodically, although the thrusting sixteenth-note sequences from the beginning and end must be considered rhythmically exact notation. They can be found again (extending over 17 bars) in the 4th part of the "Bagatelles for Clarinet in E-flat solo (op. 104/, ) and are also based on the solo part of the 1st movement of the Clarinet Concerto op. 94. The most serious difficulties occur in the - mostly tied - duodecimal leaps. Instruments with a "bass key" probably have a somewhat easier time achieving a satisfactory result in the duodecimal passages. As one can hear on the present CD: it succeeds even without the mentioned "octave flap". In this piece, the bass clarinet and its player show much success in what had initially been considered unfeasible.

Ebenhöh, HorstInventionen für Kontrabass op. 27,2 Für Kontrabass in Solostimmung. schwer Vivace - Lento - Vivace corrente leggiero - Poco adagio - Presto risoluto  Die frühe Opuszahl des 2001 entstandenen Werkes wird an Stelle eines verschollenen Werkes „Inventionen für Kontrabass und Klavier“ verwendet, der Komponist beließ die einstige Bezeichnung „Inventionen“, formal kann man das kurzweilige Werk auch als Sonatine ansehen. Angeregt wurde die Kompositionen vom amerikanischen Kontrabassisten James Rapport. Stimme / 10 Seiten

Ebenhöh, HorstVariations in the old style on a theme by Franz Schubert op. 2a <very difficult> 11 minutes, U: 1952 Vienna The theme from the German dances is varied in many ways. At the end of the tonal, technically difficult work, motifs from several variations come together and prepare a thematic conclusion in the spirit of Schubert. Piano solo 19 pages

Ebenhöh, HorstOld Style Variations on a Theme by Franz Schubert for piano 4 hands op. 2b medium difficult 11 minutes U: 1988 Vienna This is the easier four-handed version of the work of the same name for two hands. The theme from the German dances is varied in many ways. At the end of the tonal work, motifs from several variations come together and prepare a thematic conclusion in the spirit of Schubert. Piano solo Score / 28 pages

Ebenhöh, Horst„Phyleus“ – Solo für Englischhorn oder Oboe, op. 14 a<ms> 5 Minuten U: 2000 WienEine kurze Passage, der Person des Phyleus zugeeignet, für Englischhorn solo aus dem szenischen Werk „HERKULES“ nach Friedrich Dürrenmatt.Partitur / 2 Seiten

Ebenhöh, HorstSonatina for piano, op. 2c<difficult> 10 minutes, U: 1955 ViennaModerato, Andante moderato, AllegroAn entertaining tonal composition with relatively high technical demands.VIENNA NEWSPAPER, FEB. 6, 1955:The first (Ebenhöh) is a linearicus, motoricus of purest water. In his Sonatina for piano, mostly only two voices cavort carelessly through the tonal space, allegro molto grotesco, the right does not care about the left, the composer leaves them complete freedom of movement. A few times the movement condenses into hard accents, both hands quite far apart, in the lowest bass and highest treble. A funny, almost entertaining piece for listeners who like to do without key, euphony, expression and would like to know once again what one can do with tones also outside of "overcome" tradition... (Joseph Marx)score / 17 pages

Johann Friedrich FaschOverture in G majorfor 2 oboes, bassoon, 2 violins, viola and basso continuo (FaWV K: G 16)Like the overture suites G 17 and G 18, this is an overture from before the change of government in Zerbst in 1742. The overture movement with a fugue and wind solos is followed by an air that begins with a unison theme. After solos for the two oboes, the solo bassoon takes up the theme, and at the close of the A section, the theme appears harmonized. The gavotte is followed by another air with concertante oboe, bassoon and violin 1. After the usual bourée, a minuet with woodwind trio concludes the overture suite.  All movements are in G major, only the Menuet Trio in G minor.New edition according to the originals: 1. Sächsische Landes- und Universitätsbibliothek Dresden - Signatur: Mus. 2423-N-2 (copy of parts) 2. Darmstadt: 296/2 (copy of score)score & 7 parts / 102 pages

Johann Friedrich FaschOverture in G majorfor 2 oboes, bassoon, 2 violins, viola and basso continuo (FaWV K: G 17)New edition according to the original in the Sächsische Landes- und Universitätsbibliothek Dresden - call number: Mus. 2423-N-11score & 7 parts / 95 pages

Johann Friedrich FaschOverture in G majorfor 2 oboes, bassoon, 2 violins, viola and basso continuo (FaWV K: G 18)New edition according to the original in the Sächsische Landes- und Universitätsbibliothek Dresden - call number: Mus. 2423-N-13score & 7 parts / 95 pages

Fesca, AlexanderKlavierseptett Nr. 1, c-Moll, op. 26 (1841) –«Premier grand Septuor pour Piano, Violon, Hautbois, Viola, Cor, Violoncelle et Basse composé par Alexandre Fesca» – Reprint der Ausgabe:  Braunschweig : chez G.M. Meyer junior - PN: 530 [c1841]Pf, Vl, Ob, Va, Hn (Es), Vc, Kb7 Stimmen / 86 Seiten

Forester, ChristophConcerto B flat majorForViolin solo, 2 violins,viola and basso continuo Notes on the edition: Christoph Förster received his first music lessons in his hometown of Bibra. Later he was a pupil of Joh. David Heinichen. He obtained a position as violinist in the Merseburg court chapel and advanced to concertmaster. Towards the end of his life he was vice kapellmeister in Rudolstadt, where he also died. He composed secular and sacred cantatas, overtures, symphonies and a great many instrumental concertos, including some for oboe and violin. score & 7 parts / 67 pages