Quintets For Orchestra

Great Clarinet Quintets(2). Mozart's friendship with Anton Stadler, the clarinetist in Vienna's Royal-Imperial Court Orchestra, led to the composition of his beloved Quintet in A Major. The four-movement piece is arranged for clarinet, two violins, viola, and cello. Brahms's Clarinet Quintet in B minor, also in four movements, is equally popular and often recorded as a companion to Mozart's work. Professional and amateur musicians alike will appreciate this convenient single-volume publication of these frequently performed quintets. Both scores were reproduced from authoritative sources. Durable but inexpensive, this edition features a sturdy binding that allows pages to remain open on music stands for years of use and enjoyment.

String Quintets (6) (K.174 406 515 516 593 614) (Urtext).2 vn 2 va vcStudy score

Full Score-The Persian traditional music (called the Dastgah Segah) is based on intervals made of three quarter-tones and natural whole-tones. Segah has no interval in common with the European/ Western equal-temperament tuning. This lack of common intervalsbetween the Segah mode and the equal-temperament tuning will lead to a cognitive dissonance if this mode is set against the equal-temperament system. My goal has been to elaborate on the innate tensions that exists between the two interval systemsand use it as a symbol for the existing political and cultural tensions between the Persian and the Western cultures. The piece consists of two Persian traditional instruments the Ney (Persian vertical bamboo flute) and the Kamanche (Persian spikefiddle) as the musical representatives of the Persian culture set against the Western orchestra as the musical representative of the Western culture. A small ensemble of Western instruments consisting of a harp and string quintet accompanies thePersian instruments. The harp is tuned to the Segah intervals and the string quintet plays in the Segah mode. The orchestra is performing inthe Western equal- temperament tuning. From the very first bars of the main section of the piece confusionsand misunderstandings arise. The orchestra being unable to play in Segah or understand the mode becomes more and more agitated. Musical tensions between the soloists and the orchestra lead to musical confrontations and finally to musicalviolence. The orchestra becomes extremely violent and militaristic and tries to suppress the soloists efforts to express their musical thoughts. In the midst of all these confusions and cultural misunderstandings musical connections and attractionsstart to take place. The orchestra and the soloists find themselves musically attracted to each other and start imitating each others musical phrases. Cognitive dissonances start to be gradually transformed to musical dialogues symbolizing thegradual replacement of the clash of civilizations with the dialogue of civilizations. Segah was written for Khosrow and Kian Soltani and premiered at the Segah Festival on January 15 2016.

Esa-Pekka Salonen's Memoria For Wind Quintet. This work was written as a gift for the Avanti! Chamber Orchestra on their 20th anniversary. It was first performed on 30th November 2003 at the Helsinki Conservatoire Finland by members of the Avanti! Chamber Orchestra conducted by Esa-Pekka Salonen. Duration c. 12 minutes Score available: CH67958.

New detailed foreword by Dvo ák scholar David Beveridge (Eng/Cz/Ger).Dvo ák?s String Quintet in G Op.77 had five movements when it was premiered on 18 March 1876. Its second movement was the Intermezzo from his String Quartet in E minor (1870). Later Dvo ák removed this movement from the Quintet expanded it and published it as a separate Notturno for String Orchestra Op.40. The Intermezzo is included in its original version in the appendix of the score.This edition is based on the Complete Edition of the Works of Anton n Dvo ák the principal source being the first edition of 1888 for which Dvo áksubjected the work to revision.

The Double Bass part of J.S. Bach’s wonderful composition arranged for String Orchestra by Christopher Bunting and is suitable for String Quintet.

The Second Violin part of J.S. Bach’s wonderful composition arranged for String Orchestra by Christopher Bunting and is suitable for String Quintet.

Kites is scored for wind quintet and string quintet and came about through Holt's interest in Japanese things. The kite that features is preceded by an introduction of fragile slow and serene scene-setting music. Like Kites Holt's musical ideas are objects defined by the forces within them; intervals dynamic intensities and tensions between different instruments and registers. Many of these featurethroughout the piece which has a graceful ending likened to a Light breeze blowing shoreward form the ocean.

Poul Ruder's Wind-Drumming for Wind Quintet and 4 Percussionists (1979/85). Parts are for hire: hire@ewh.dk Programme NoteWind-Drumming was written in 1979 on a commission from The Danish Percussion Ensemble.The piece is a clash of two kinds of sound-associations; the mystic exotic impact of Latin-American drumming and the more well dressed reputation of Western concert-instruments in this case a wind-quintet (w. electric flute).The two instrumental camps either melt into one soft humming ritual or are split wide apart the winds tearing their way through the undergrowth ofrainforest-drumming. There is more than one way of getting on to WIND-DRUMMING: obviously it is about the confrontation of two incongruent ways of living a lament on the damage done to the tropical rainforests of the world by modern civilisation. One can hear it plainly as a direct rhythm-show a downright number or a joyous homage to the most exiting kind of folkloristic music at all: the carnal spell of the Brazilian Samba. Poul Ruders