SKU: HL.49000553
ISBN 9790200101157.
SKU: PR.11442131S
UPC: 680160681006.
A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend - my brother, who plays viola, was an is an inveterate chamber music player - and members of parents' generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra's concert mistress, and others) but also people from various other walks of life. Although I don't play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.) Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980's, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it's hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done. The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going. I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend – my brother, who plays viola, was an is an inveterate chamber music player – and members of parents’ generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra’s concert mistress, and others) but also people from various other walks of life. Although I don’t play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.)Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980’s, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it’s hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done.The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going.I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.
SKU: PR.114421310
UPC: 680160680993.
SKU: SU.00115943
This disk contains performance materials for an eclectic group of 39 Piano Quintets and Sextets by such composers as Arensky, Boccherini, Borodin, Dvořák, Fauré, Saint-Saëns, Schumann, Turina, Widor and many more. Included also are articles on the lives of the composers and relevant entries from the 1911 edition of the Grove's Dictionary of Music and Musicians. Published by: CD Sheet Music
Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.
SKU: HL.14045604
ISBN 9788438706541. Spanish.
SKU: HL.51481083
ISBN 9790201810836. UPC: 888680950804. 9.5x12.25x0.359 inches.
Brahms's First String Sextet became very popular after its publication in 1861, yet his publisher Simrock still hesitated when the composer offered him a second such work in 1865, “in the same cheerful mood.†So Brahms made overtures to other publishers, and then Simrock finally agreed to take it on. The critics were initially rather skeptical towards this Sextet op. 36, but Brahms's friends thoroughly approved of it. Clara Schumann praised its accomplished motivic work, while others enthused about its magical sound colors. This practical edition by Katrin Eich, based on the Brahms Complete Edition, now offers performers the opportunity to form their own opinion, whether in performance or by perusing our study edition. The parts include player-friendly cue notes and have excellent page-turns.
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SKU: HL.51487083
ISBN 9790201870830. UPC: 888680950712. 7.0x9.0x0.251 inches.
Brahms's First String Sextet became very popular after its publication in 1861, yet his publisher Simrock still hesitated when the composer offered him a second such work in 1865, “in the same cheerful mood.†So Brahms made overtures to other publishers, but then Simrock finally agreed to take it on. The critics were initially rather sceptical towards this Sextet op. 36, but Brahms's friends thoroughly approved of it. Clara Schumann praised its accomplished motivic work, while others enthused about its magical sound colors. This practical edition by Katrin Eich, based on the Brahms Complete Edition, now offers performers the opportunity to form their own opinion, whether in performance or by perusing our study edition. The parts include player-friendly cue notes and have excellent page-turns.
SKU: KU.GM-1911
ISBN 9790206202384. 9 x 12 inches.
Monumentum, Music for String Sextet, was written in 2014 to a commission from the Moritzburg Festival, The Chamber Music Society of Lincoln Center New York and the Kathe Kollwitz House in Moritzburg. It is dedicated to the cellist Jan Vogler. The world premiere took place on 19 August 2014 at the Moritzburg Festival, performed by Timothy Chooi & Mira Wang (violins), Roberto Diaz & Hartmut Rohde (violas), Jan Vogler & Harriet Krijgh (cellos). The American premiere took place on 7 May 2015 in the Lincoln Center with the Amphion String Quartet, the violist Yura Lee and the cellist Jan Vogler.The String Sextet Momentum commemorates the outbreak of the First World War, the death of Peter Kollwitz – who died as a volunteer, aged just 18, in the early weeks of the war – and the manner in which his mother, the artist Kathe Kollwitz, mourned the loss of her son. The artist worked through her pain by creating her most famous sculpture, The Mourning Parents. It stands today at the German soldiers’ cemetery at Vladslo in western Flanders, where her son Peter also lies buried. During the 18 years that she worked on the Parents, Kathe Kollwitz attended several concerts at the Volksbuhne in Berlin, where from January to February 1927 she heard Arthur Schnabel’s cycle of all the Beethoven piano sonatas. Schnabel performed the Sonata op. 111 in c minor on 26 February 1927, and this work touched her in particular, as we can read in her diary: “The strange flickering notes turned into flames – a moment of rapture, taking one into a different sphere, and the heavens opened almost as in the Ninth (Symphony). Then one found one’s way back – but it was a return after having been assured that there is a heaven. These notes are serene – confident – and good. Thank you, Schnabel!” This encounter with Beethoven’s last sonata inspired the artist to take up work again on her sculpture after a long interruption and to consider different possibilities for arranging the two figures. For this reason, the first minutes ofMomentum are derived from this sonata by Beethoven – though without it being quoted in an audible manner – and they leave their mark on the form of the Sextet. The number 18 and the date of Peter Kollwitz’s death (23 October 1914) also have a direct impact on the work’s dramaturgy. This music is mostly calm in nature, but is time and again interrupted unexpectedly, being disturbed by unruly sounds and vehement eruptions until time itself seems to dissolve in an aleatoric passage. The work ends with an extended lament on “seed corn should not be ground”, a line from Goethe’s Wilhelm Meister’s Journeyman Years. Kathe Kollwitz often quoted this phrase to argue for peace, and also took it as the title for a lithograph that she made in 1942. - David Philip Hefti
SKU: CL.012-3802-01
This unique Gem of the Concert Band features a brass sextet accompanied by band. A great example of the bel canto style of brass performance, your sextet of two trumpets, horn (or trombone/euphonium), two trombones (or euphoniums), and bass trombone will wow audiences! Transcribed from the famous operatic vocal sextet, this brilliant work from the golden age of the concert band is a real crowd-pleaser. Our highest recommendation!
About Gems of the Concert Band
A series of transcriptions and other works in varying styles, representative of the programming of the Great American Classic Concert Band era of a century ago, as exemplified by John Phillip Sousa, Edwin Franko Goldman, Karl L. King, and Leonard B. Smith
SKU: HL.50487076
ISBN 9790080122181. 9.0x11.75x0.12 inches. Frigyes Hidas.
Similar to cyclic works the movements, which could also be described as performance pieces or concert studies, are each of different character. The fact that they were conceived as studies is manifest in that the composer elaborated a rhythmic idea or treated a technical problem in depth in each of them. The 'cast' of the setting changes, however: sometimes the ensemble falls into two parts, on other occasions the parts are imitating and of equal importance. The 'Six Studies' provide chamber music for intermediate and advanced pupils.
SKU: HL.48182335
UPC: 888680840181. 9.0x12.0x0.398 inches.
French composer, Pierre Max Dubois (1930-1995) significantly contributed to the wind repertoire. Sinfonia da Camera for Wind Sextet was published in 1965 and remains prominent in the ensemble repertoire. Dubois' music is characteristically light-hearted with unusual harmonic and melodic textures. Sinfonia da Camera for Flute, Oboe, Clarinet, Saxophone, Horn and Bassoon reflects Dubois' compositional characteristics and is made up of three movements; 1) Entrance, 2) Gigue and 3) Variations. Sinfonia da Camera is essential to the advanced Wind Sextet repertoire. Dubois' work makes for an exciting, varied and enjoyable performance for players and audiences alike..
SKU: CY.CC2622
Children's Corner arranged for Brass Sextet by Keith Terrett is a four-movement suite for 2 Trumpets in B-flat, Horn, 2 Trombones and Tuba. Debussy's original six movement suite was written and first performed in 1908 on the Piano.It was dedicated to Debussy's daughter, Claude-Emma who was only three at the time.The four movements for brass are:1. Jimbo's Lullaby (about an elephant)2. Serenade for the Doll (about an Oriental porcelain doll)3. The Little Shepherd (a shepherd with his flute)4. Golliwogg's Cakewalk (they were stuffed black dolls with red pants & wild hair.This 11 minute suite is suitable for advanced performers and is the only arrangement published of this work for brass.
SKU: CY.CC2848
Sweelinck's lifetime of keyboard improvisation gave him a great repertoire of keyboard techniques. This set of four variations entitled More Palatino Bibimus latin for, We Drink in Palatial Style is full of Sweelinck's bag of tricks, has been wonderfully arranged for Brass Sextet by Keith Terrett. The music has been attributed to the composer due to its technical complexities which can only have come from his pen.The style of this 4-minute work which is appropriate for advanced performers is elegant and dance-like.
SKU: HL.14043461
9.5x14.25x0.122 inches.
Richard Reed Parry 'S Heart And Breath Sextet For Piano Six-Hands, Violin, Viola And Violoncello. Heart And Breath Sextet Was Commissioned By The 2011 Musicnow Festival For Ymusic. ' This Piece Is Based Around The Idea Of Using The Widely Varying Internal Rhythms Of The Performers' Bodies As Performance Parameters. There Is No Actual Tempo Or Meter Built Into The Piece. The Breathing Rates Of The Players Are Used In Alternation With The Individualperformers' Heart Rates To Determine The Pace At Which All Of The Musical Material Is Played. This Requires That The Performers Generally Play Quietly And Delicately, So As To Be Able To Hear Their Heartbeats Adequately.This, In Combination With The Natural Variance Between The Different Heart Rates, Results In A Kind Of Delicate Musical Pointillism: Starts And Stops Which Are Somewhat Staggered, Parts Which Repeatedly Line Up And Fall Out Of Synch With Each Other, Different Individuals' Pulses Rising And Falling. The Piece Is Never Performed Exactly The Same Way Twice. In This Piece, The Pianists Wear Stethoscopes Positioned Over Their Hearts So That Each Can Follow His Or Her Own Heart Rate. Two Eighth Notes (Quavers) Correspond To The Two Sounds Of A Single Normal Heartbeat, And Performers Should Match As Closely As Possible The Staccato And Irregular Rhythm They Hear. The Strings Are Instructed To 'Play To Breath'; The Natural Cycle Of One Inhalation And One Exhalation, Or Vice Versa, Will Determine The Length Of The Bar (Two Quarter Notes/Crotchets) Without Any Attempt To Make It Metronomic. When One Instrument Is Designated The Leader, Their Breath Will Determine The Starts Of Phrases And The Procession From One Bar To The Next, Cuing Other Parts If Necessary. ' - Richard Reed Parry.
SKU: HL.50485814
ISBN 9780634092749. UPC: 073999858143. K/4 (23,5x31) inches. Hungarian, English, German. Kamillo Lendvay.
All five movements require perfect virtuoso elaboration: maximum precision combined with released humour that never fails to take the musical message completely seriously. The movements are: 'Boccacce', 'Con sentimento', 'Foxtrott', 'Flicorno romantico' and 'Finalissimo'. Movements 2 and 4 as well as 3 and 5 are interchangeable.
