Wind Quintet no.2

Walden for wind quintet was written in 1978 and commissioned by the Funen Wind Quintet. The title is taken from the American philosopher and poet Henry David Thoreau?s novel from 1854 about living in the woods which Thoreau did for two years.His stay there was an experiment an attempt to strip away all the artificial needs imposed by society and rediscover man?s lost unity with nature. In that particular sense his novel is a documentation of social inadequacy and a work of poetry (Utopia) as well.All thought Thoreau himself never completed any actual social analysis he was way ahead of his own time in his perception of the economy and cyclic character of Nature todayknown as ecology. His ideas are particularly relevant now that pollution caused by society has reached alarming proportions.Walden was written in a style of re-cycling and ?new simplicity?. A lot of superfluous material has been peeled away in order to give space to different qualities such as identity and clarity. Various layers are encountered in the quintet such as the organic (growth flowering Decay) concretism (mechanical patterns) and finally the descriptive (distant horn calls and other ghost-like music of the past enter our consciousness like a dream). Walden consist of four movements.In 1995 another version for reed quintet was written to the Calefax Reed Quintet.?

A superb four-volume collection of over 180 solos for the intermediate level Pianist. Includes popular film and show tunes - themes and songs from top TV shows - and classical favourites from choral works, concertos, ballets, operas and symphonies. / Piano

Edition for piano two violins viola and violoncello-Edition for piano two violins viola and violoncello (2-piano reduction with 1 each of the string parts) 'Mr. Mozart Kapellmeister wishes to announce to the most worthy public the appearance in print of three of his recently contrived piano concertos. These three concertos may be performed not only with a large orchestra including wind instruments but also a quattro that is with two violins one viola and violoncello. They will be issued early in April of this year (1783).' As this advertisement shows it was Mozart's intention to keep the accompaniment part flexible in his piano concertos K.413-5 and as we know from a letter Mozart wrote to his father inK.449 as well. In addition to orchestral forces it is also possible to use a chamber setting with string instruments one to a part. This chamber music edition accommodates this option thereby enriching Mozart's charming chamber music with piano. These editions of Mozart's Piano Concertos are based on the Urtext editions published in the New Mozart Edition. In the present arrangement for two pianos the solo Part - as well as the strings - are unchanged and thus identical with the version in the NMA. The piano arrangement adheres to the original orchestral score. Chamber music editions available for: Piano Concerto No.11 in F major K.413 BA4875Piano Concerto No.12 in A major K.414 BA4877Piano Concerto No.13 in C major K.415 BA4879Piano Concerto No.14 in E-flat major K.449 BA4871

Third edition of the world's biggest songbook. This is a vast bumper collection, perfect for buskers, of 1001 all-time hit songs.Whatever your taste, there's guaranteed to be tonnes of songs you'll want to play, this book will last you years!Inside the spiral bound cover you will find a generous selection of hit songs, golden standards, jazz and blues numbers, classical pieces, hymns, gospel songs, stage, film and musical music! Arranged here in Melody line arrangements for Piano, Organ, Electronic Keyboards, Guitar and all C instruments, complete with lyrics and chord symbols. / Ligne Mélodique, Paroles Et Accords (Avec Grilles D'Accords)

Joe Cutler's Jiggadybox for Piano Quintet.The Jiggadybox is a strange musical contraption designed by the eighteenth century Swiss inventor gambler and philosopher Rudolf von Stengl. When finally wound the jiggadybox begins its characteristic ?jigga-ing? and at this point all its pistons and mechanisms whirl and dance to the sound of a strange jerky rhythm which is produced deep inside the box by an unknown and mysterious source.A word of warning: Care and attention must be taken when winding the jiggadybox up because the winding device is very old and delicate. Secondly being a prototype-model the jiggadybox has a tendency to overheat inthe midst of its jigga-ing?. - Joe CutlerComission made possible by Annie and Mark Bailey.

Quintet for Wind Instruments in E flat major op. 88 2-Reicha published a total of 24 wind quintets for the ?classical? scoring of flute oboe clarinet horn and bassoon; op. 88 no. 2 is one of the best-loved and most played. ?If it were possible to surpass Haydn in the compositionof quartets and quintets Reicha would have succeeded with these quintets? thus raved the ?Allgemeine Musikalische Zeitung? on a performance of Reicha?s quintets ?it seems to me that it is impossible to unite more correctnessand clarity with more inventiveness and originality.? This work exudes inspiration and spirit from every note. In addition to the parts we have also produced a handy study edition of the score.

Programme Note WHIRLS´ WORLD (1970) for wind quintet. ?Whirl´s World? was composed in 1970 as one of a series of works which explored the so-called musical ´difference-phenomenon´. This term (which I coined in connection with a series of lectures in California that year) indicates a motivic duplicity in which two - often very simple - melodic ideas come ´out of phrase´ with each other giving rise to a course of constantly changing conditions. In Whirl´s World the difference phenomenon is heard from the beginning where a three-note motif and a four-note motif are set against each other. It all proceeds lake a lightning-fast series of chess moves; first notenumber 1 of the three-note motif is moved then note number 1 of the four-note motif thereafter note number 2 of the three-note motif - and so on. This fast opening flows into a slow section in which the differences now appear as ´fluctuations´ between very closely related tones (of which one is sung by the musician). There is only one movement built up as an organic growth from slow to furiously fast whirling and back again to slow which can be heard as ´slow-motion whirls´ as a water-world of ripples and bubbles. All this is framed by the introduction described above and a corresponding conclusion in which the movement is now descending ending in the resolute bass full-stop. Per Norgård