Drechsler, JosephTrio in C minor (1817) for 2 flutes and flute d'amore (in A flat) (or alto flute in G)First edition based on the handwritten parts Mus.Hs.39.008  from the Austrian National Library in Vienna. Editor: Christian Starke 4 flutes score & 4 parts / 25 pages

Ebenhöh, HorstTriancia  für Oboe, Klarinette B und Fagott op. 84, 2<s>12 Minuten, U: 1996 Cluj / KlausenburgAllegro - Allegro moderato - Adagio - Vivo - Coda: Allegro moderatoPartitur / 22 Seiten Der Name des Werkes leitet sich vom ital. „Triancia“ ab, was soviel heißt wie Zunge oder Rohrblatt. Nach dem unruhigen Eingangsstück beginnt das ausgedehntere zweite mit Oboe-Solotakten und endet lautstark mit raschen Auf-und Ab-Läufen aller Instrumente. Das Adagio nützt die, besonders auf französischen Instrumenten ausführbaren Mini-Intervalle und Akkorde für ein reiches klangliches Spektrum. Rasch läuft der ebenfalls mit zahlreichen Zwischenintervallen versehene und rhythmisch betonte vierte Teil des Werkes ab, gefolgt von einer halbminütigen Coda, die die nun schon bekannte Intervallausweitung und am Ende unkonventionelle Spielarten des Fagotts in den Vordergrund stellt. Auftragswerk des „Trio Aulos“ (Mitglieder der Philharmonie Cluj) in Cluj, Rumänien. ADEVARUL DE CLUJ, 8.3.1996 (Transl. from Romanian by Cr. M. Bota): ...The world premiere of the Austrian composer Horst Ebenhöh piece, „Triancia“, was the moment of the evening with the value of „event“. The first performance of the work (composed and dedicated to Trio Aulos) was honoured on Wednesday by the presence of the 60 years old composer, and by the long aplaudes of the audience. Combining the aleatoric writing with other technics used for the three instruments (the bassoon having even a percussionistic role at a moment), „Triancia“ is a suite of various elements, from the dramatism of the first two movements to the tenebres with grotsque nuances of the 3rd part, from the jazz motives (Vivo) to the short but exciting Coda, in a way let in suspense, captivating the audience...

Johann Friedrich Fasch Sonate F-Durfür 2 Oboen und Fagotto  (FWV N: F 6) Neuausgabe nach der Vorlage einer Stimmenabschrift in der Musiksammlung der techn. Universität Darmstadt: Signatur 298/4 Partitur & 3 Stimmen / 24 Seiten

Finger Gottfried (Geoffrey) Trio Sonata in B flat major for 2 oboes or 2 violins and basso continuo New edition based on a set of parts in the British Library No .: 49599. Obviously a bundle of inter-act music by Bononcini, Dieupart and Finger. Score & 3 parts / 16 pages

Graun Johann Gottlieb Trio Sonata in F major for 2 violins or 2 oboes and basso continuo New edition based on the original in the Saxon State and University Library in Dresden. Signature: Mus. 2474-Q-19. Score & 3 parts / 20 pages

Guise Jean François deCon leggera malinconiaTrio per oboe, fagotto e pianoforteop. 25, No. 14 (2014)In the trio “Con leggera malinconia” (With a slight melancholy) from 2014, Jean François de Guise consistently presents his understanding of the relationship between sound, rhythm and internal musical construction.The fact that the composer seems to remain “below the norm” at least temporarily with a playing time of 3:20 minutes is only due to the fact that he immediately gets to the point of all musical and compositional ideas, one can even say that he remains uncompromisingly objective. Yet there is a real flow of thoughts and feelings.Melancholic, but not sad, interesting and exciting, without becoming intrusive, that's how the piece can be briefly described.What is even more important, however, is that he manages to arouse interest in “contemporary music” with this work, without it being “softened” in terms of sound.Oboe, bassoon, pianoPiano score & 2 parts / 15 pages

Guise Jean François de Extemporization for woodwind trio op. 25, No. 13 (2014) The year 2014 marked a new beginning for Jean François de Guise. He received two work contracts for the chamber music series of the Tōkyō Geijutsu Daigaku (Tokyo University of the Arts).  “Extemporization for woodwind trio, op.25, no.13” was the first piece that was written for this institution.  Years before, Jean François de Guise had been to Japan again and again, worked with a number of musicians and thus also got to know the way of working in Japan.  The fact that it is customary there to come to the first reading samples already perfectly prepared may make it clear how different the approach is in the Japanese environment compared to Europe and America.  With the free-tonal structure of the piece and its audible rhythmic structures, the composer created a chamber music piece that is contemporary, but committed to tradition and ultimately extemporated. If you also look at the other trios that were written for the Tokyo University of the Arts (Trio for Flute, Viola and Cello, op.25, no.15 and Trialogue for Flute, Viola and Bassoon, op.25, no. 19), it should be noted that Jean François de Guise developed his Japanese sound, which reflects his feeling for the country, but does not cite the musical tradition of Japan. "It is a country, and Tokyo as a metropolis in particular, in which, despite the many people rushing around, I immediately find inner peace."   This statement by the composer corresponds perfectly with the music that was composed there. Oboe, Clarinet, Bassoon Score & 3 parts / 21 pages

Guise Jean François dePaenultima voxfor two trumpets and french horn op.25, no.25Jean 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.2 trumpets in Bb, horn in FScore & 3 parts / 19 pages

Guise Jean François deIntonarumori per Flauto, Clarinetto in Sib e Corno in Faop. 25, No. 8Concerts in churches always have a special atmosphere, especially when history shines through the cracks in the wall. You can hardly escape this impression when you experience a performance in the Church of Santa Maria Immacolata in Rome.In 2009 Jean François de Guise wrote his work “Intonarumori” (“Noise Generator”) especially for a concert in this church.It was named after the Italian artist, painter and composer Luigi Carlo Filippo Russolo (1885-1947).They built instruments, precisely those "noise generators", in order to deal with the noise level of modern cities and machines.Jean François de Guise's approach is completely different, similarly contrary to that of Luigi Carlo Filippo Russolos in his day. In this work the composer tries again to put the sound in the foreground without necessarily wanting to be tonal. If you look at the score, you can see that the piece is almost entirely free-tonal.Nevertheless, Jean François de Guise is able to convey the impression that everything has its “tonal order” and with his music he takes away any feeling for space and time, which makes listening to it an almost meditative experience.Thomas SchönboomFlute, clarinet in B flat, horn in FScore & 2 parts / 21 pages

Guise Jean François deTrio for Brassfor Trumpet in B, Horn in F, Tromboneop. 25, no. 26In 2018 Jean François de Guise received a commission from "Phoenix Brass", a brass ensemble from the USA, to compose a trio for its smallest instrumentation.The composer decided that it should be a work that would be beyond the usual sound world that is usually cultivated in the concerts of brass ensembles.When composers move beyond instrumental lore in their works, it is often problematic because it poses problems that even accomplished instrumentalists cannot solve.In the "Trio for Brass, op.25, no.26" Jean François de Guise also breaks new ground. Knowing that he is a trumpeter himself, this is of course a challenge for the performers, because he does not shy away from using notes which are delicate in the required dynamics and pitch.Nevertheless, everything is wind evident and playable.This compositional style categorizes the work as a piece for professionals, but it offers a tremendous fund of excitement and sound.Martin Walter (Switzerland), a musical companion and challenging source of ideas for several works by Jean François de Guise, such as the"Solo concerto for Church organ op.12, No.32 from 2021, also took on the trio and described it as both innovative and beautiful in sound.The ensemble for which the piece was composed premiered it to great acclaim in 2018, the very year it was written. Trumpet, Horn, Trombonescore & 3 parts / 11 pages

Guise Jean François deTrio for Flute, Oboe and Bassoonop. 25, No. 22Flute, oboe and bassoon undoubtedly belong to the established instruments in concert music. The three are also represented as soloists in almost every epoch of classical music.Jean François de Guise, who also worked with these instruments as a soloist as well as in chamber music, brings everything together in this trio.Staccato rhythms characterize the work. Again and again he counteracts them with melodious lines, which are alternately distributed and broken in their course. This puts the attentive listener on the track of the composition.For, all the motifs thrown down in such an isolated way are lines, even rows of the extended 12-tone technique. All in all, Jean François de Guise once again presents a piece that is highly interesting and should be equally enjoyable for lovers of contemporary music as well as for the "normal" listener.flute,oboe, bassoonscore & 3 parts / 39 pages

Guise Jean François deTrio piccolo per due fagotti e controfagottoop. 25, No. 4The term "Trio piccolo", which the composer Jean François de Guise uses, and not the usual term, "Trio basso", refers exclusively to the miniature-like form of the work. The subtitle, “per due fagotti e controfagotto” (for two bassoons and double bassoon), underlines this even more.In the field of trio compositions, the trio basso belongs to a form that generally dispenses with a soprano instrument and is composed only from the middle of the sound. It is most common in the instrumentation viola, violoncello and double bass.The "Trio piccolo per due fagotti e controfagotto op.25, No. 4" by Jean François de Guise is nevertheless a special form of the trio bassos, since it only uses bass instruments.The choice of two bassoons and the contrabassoon came about at the suggestion of one of his friends, Stefan Siebert, who was the principal bassoonist of the Anhaltische Philharmonie Dessau at the time, who commissioned the work in 2008 and performed it himself several times with great success.Small and large sixths, which initially form the basis of the composition, form a floating, warm sound, which is initially replaced by a recurring sixteenth-note motif, only to end again in recumbent chord constructions.If you look at the Andante, which begins in the middle part, as the second movement, the idea of ​​a classical sonata automatically comes to mind. This approach is reinforced in the Poco mosso.The sixteenth-note motif begins again here, quoting the “first sentence” and branching out the original structure. The following Lento is reminiscent of the melting sounds of the beginning, but now much more lyrical, which is also expressed in the playing instruction molto lirico.Jean François de Guise, whose free-tonal way of composing otherwise prefers dissonant sounds, ends this part in an unheard-of, annoying consonance, a pure C major chord.Like the final movement of a sonata, the composer puts all known motifs in relation to one another, allows new constellations and finally allows the piece to end in an unresolved triad.2 bassoons, contrabassoonScore & parts / 19 pages

Guise Jean François deWind Trio for Flute, Clarinet and Hornop. 25, no. 27Concise rhythms and extended 12-note technique shape this work by Jean François de Guise. With a performance time of 2:30 min, it is suitable for almost any program, beginning with an upscale competition entry and ending with an encore.The composer shows once again that length does not determine the importance of a work.The listener is taken into a world of sound, which is only gradually pieced together in a mosaic-like fashion. Just as refreshingly pointillistic as the beginning, Jean François de Guise creates the conclusion of the piece, abrupt and short.flute, horn, clarinetscore & 3 parts / 17 pages

Guise Jean François deAnnouncementfor brass trioop. 25, No. 29Jean 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.2 trumpets in Bb, horn in FScore & 3 parts / 17 pages

Guise Jean François deCANON for woodwind trioop. 25, No. 18Jean 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.Clarinet, oboe, bassoonScore & parts / 20 pages

Guise Jean François deDeviationsfor flute, oboe and clarinetOp. 25, No. 31Deviation, which literally means deviation and can often be found in the USA on blocking signs in connection with “wrong way”, shows what the piece is based on.The composer, Jean François de Guise, who also works with the extended 12-tone technique in this work, composes passages that seem to deviate from the usual compositional method.The tone poem, which appears quite melodious, always finds a new “diversion” and only then forms the “right path” from sound, rhythmic structure, sound effect and extended 12-tone technology.This is exactly what makes his music so successful with the performers and the audience.Flute, oboe and clarinetScore and 3 parts / 25 pages

Guise Jean François deTrio for Clarinetsfor 2 Clarinets in Bb and Bass Clarinet in Bbop. 25, No. 17Jean 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.3 clarinetsScore & parts / 22 pages

Händel, Georg FriedrichTrio Sonata in B flat majorfor 2 oboes and bassoonHWV 388 For the composition of the first movement, as in the F major Sonata HWV 392, Handel took up the sixth aria 'My soul listens in seeing' from the collection “9 German Arias”. Handel composed this volume of arias in London between 1724 and 1727 based on texts by the Hamburg pastor Barthold Hinrich Brockes. Handel used motifs from the first movement and movements 2 and 3 of the sonata for the overture to the oratorio Esther. The music of the 4th movement can be found among others. in the organ concerto in B flat major. The very accurate handwriting Quantz ‘is flawless. Additional dynamics are given in brackets. Additional slurs are shown in dashed lines. In movement 2, Allegro, the last two 16th notes b and c are written in bar 47 in the basson, b and c sharp would also be possible In movement 3 Larg (b) etto, Quantz only writes staccato strokes in bars 2 and 3 in the basson, although this should also apply to the other corresponding positions.Score & 3 parts / 27 pages

Haß, Reimund 10 Variationen für 3 Fagotte über „Ein Männlein steht im Walde“ von Reimund Haß Meinen Variationen für 3 Fagotte habe ich ein bekanntes Volks- bzw. Kinderlied voran gestellt. Es ging mir nur um die Melodie des Liedes als Thema.Und dafür eignet sich  hervorragend das Fagott.Die Variationen sind nicht für Kinder geschrieben, da sie teilweise enorme technische Fertigkeiten der Instrumentalisten erfordern. Partitur & 3 Stimmen / 24 Seiten  

Hate, ReimundTrio in 3 parts for flute, clarinet and bassoon by Reimund Haß I would give my little trio in three movements the title "To pass the time". It is meant to encourage the fun of making music. I hate chamber music works that are too long.  The instrumentation becomes too monotonous in the long run. I hope that many instrumental groups will purchase this trio and enjoy my music. Not the philosophy, but the fun is in the foreground. score & 3 parts / 29 pages

Petzold Christian Trio Sonata in G major for oboe, violin and basso continuo New edition based on the original in the Saxon State and University Library in  Dresden. Signature: Mus. 2354-Q-1. Score & 3 parts / 33 pages