For several years following composition of his first piano quartet, Dvorák's publisher Simrock pushed him to compose a follow-up piece in the genre. The work, written during a few short weeks in summer 1889, fulfilled Simrocks wishes. With his op. 87, Dvorák delivered a challenging and mature work in which a mastery of form is combined with memorable themes and surprising harmonic turns, leading it quickly to conquer the hearts of both performers and audiences.
The engraver's model for the first edition is lost; but together with the first edition the autograph survives as a second source for our critical edition, with which Henle continues its series of Urtext editions of this composer.
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Full set of Parts for Wind Quintet.
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“Quartet, when mentioned in the context of concert music, is generally assumed to mean string quartet. In my case, the quartet that has played a central role in many of my pieces (besides the string quartet) is that of two pianos and two percussion [instruments]. The piece is one of the more complex I have composed. It frequently changes key and often breaks off continuity to pause or take up new material. Though the parts are not unduly difficult, it calls for a high level of ensemble virtuosity. The form is one familiar throughout history: fast, slow, fast, played without pause. The slow movement introduces harmonies not usually found in my music. The piece is dedicated to Colin Currie, a percussionist who has broken the mold by maintaining his solo career with orchestras and recitals and also, quite amazingly, by founding the Colin Currie Group which plays whatever ensemble music he believes in. I salute him and hope others will take note.” -Steve Reich
Quartet was co-commissioned by Southbank Centre, Carnegie Hall, The Juilliard School, Cité de la musique, and Kölner Philharmonie / KölnMusik, and is approximately 17 minutes in duration.
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Directly after composing his first violin sonata, Fauré wrote another great chamber music work with the Piano Quartet op. 15. This youthful, fresh composition met with wide approval at its premiere in February 1880, however, a little later, friends expressed somereservations about the last movement. Fauré then even composed an entirely new Finale, although this was only after a period of reflection of three years. With this new final movement, op. 15 quickly found its way into concert halls and is now regarded as one of the most important and popular French chamber music works of the late 19th century. The fingering in the piano part has been added by a specialist in “musique française,” the French pianist Pascal Rogé.
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Inspired by the success of his First Piano Quartet, published in 1884, the composer began a second work in this genre only a short time later. The style is considerably more serene and individual than that of the First Piano Quartet, and both the sequence and character of the movements are more reminiscent of Schumann and Brahms. In its Andante, as Fauré later recalled, he unconsciously set to music the memories of the sound of bells in his childhood.
Through the comparison with the autograph, Fauré specialist Fabian Kolb was able to correct with this Urtext edition numerous errors of the first edition. As also in the case of the Henle edition of the First Piano Quartet, Pascal Rogé - an authority on French music - was responsible for providing the fingerings in the piano part.
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Suite for soprano, alto, tenor and baritone saxophone.
Includes: I Feel Pretty; Scherzo; Somewhere; Balcony Scene; Cha-Cha; Jump; One Hand, One Heart; Gee, Officer Krupke.
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Miniature Quartet No. 1 in A Minor. Parts only.
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Inspired by the events of September 11th, this three-movement work incorporates recorded voices of NORAD air traffic controllers, FDNY, and Ground Zero neighborhood residents. Audio component for performance use available directly from the publisher at USRental@boosey.com
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A very readable foreword and extensive Critical Commentary with all necessary information enrich this Urtext edition by master Munich flautist and Mozart expert Henrik Wiese. One may learn there, for instance, that there are some peculiarities in the transmission history of Mozart's flour flute quartets: one quartet (C Major, Anh. 171 [K. 285b]) is in all likelihood falsey attributed and thus not by Mozart at all, another (G Major, K. 285a) survives in only two movements, and peculiarly at that, raising at least some doubts about the established version, and a third flute quartet, though doubtless by Mozart, remains completely misdated in the Kochel catalog (that in A Major, K. 298, composed in 1786 not 1778). Only the first flute quartet, in D Major (K. 285), can be dated clearly, to Mozart's stay in Mannheim in 1777. There he had fallen hopelessly in love with Aloysia Weber, the elder sister of Costanze who years later would become his wife. This masterful edition is worth acquiring for this work alone.
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This is Mozart's only piece of chamber music for the oboe – and no oboist would want to be without it! Like the Clarinet Quintet, the Oboe Quartet of 1781 was written for a friend: Friedrich Ramm, a member of the celebrated court orchestra in Mannheim. Since then it has become the most significant and best-known work in its genre. The playful virtuoso outside movements frame a brief slow movement in the minor mode that brings out the instrument's elegiac timbre. Unlike the Oboe Concerto, this work has come down to us in Mozart's autograph score, which has served as the principal source of our edition.
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| List | $23.95 |
A nice bound copy of the flute part for this popular jazz piece.
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| List | $22.99 |
