Brahms had in fact wanted to stop composing in 1890, but his encounter with the clarinettist Richard Mühlfeld inspired him so much that he produced several works in a row for him over a brief period of time. The melodious Quintet op. 115 has been popular with musicians and audiences alike since its premiere in 1891. Even prior to printing - and presumably with a view toward further dissemination of the work - an alternate version was written with viola instead of clarinet, premiered by no less than Joseph Joachim and authorized by Brahms. The Henle Urtext edition, revised according the text of the New Brahms Complete Edition, thus also includes the alternate viola part. In a brief preface, editor Kathrin Kirsch provides insight into the genesis of the work and discusses interesting variants of transmission in the Comments.
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| List | $69.95 |
Dance Suite is the last work to be written (mostly in late 1989) by the composer. Each movement is dedicated to a choreographer-friend. More than a pièce d'occasion, there are other layers of meaning in the work since each movement had its origin in other formats. These are mostly anniversary pieces composed for family and friends.
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| List | $35.00 |
This work, composed in 1878/79, alternates between chamber music intimacy and symphonic opulence, and marks the beginning of a series of significant late works by César Franck. Its composition was partly prompted by the successful performance of Franck's youthful piano trios at the “Société nationale de musique” (founded in 1871), and probably also by a composition competition for works using this instrumental combination whose deadline Franck then went on to miss. The Quintet was received coolly at its first performance in January 1880, and it was performed just a few more times during the composers lifetime. It was only in the 20th century that audiences and critics came to recognise this work as a major milestone in the history of French chamber music, and it now adorns the Henle catalogue in a new Urtext edition.
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| List | $70.95 |
Composed in 1943. Duration 7 minutes. Full score. Parts available: PAT60070SP.
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| List | $15.95 |
This arrangement of Finzi's perennially popular work for clarinet and piano was made to mark the centenary of the composer's birth on 14 July 2001.
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| List | $20.99 |
Set of Parts only – no score
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| List | $80.00 |
This work is a set of free variations drawn from a 13th-century Chinese drama by Kuan Han-Chimg. The complex cello and percussion writing focuses on the timbres, textures and fiddling techniques of Chinese ritual music and Ghost opera.
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| List | $35.00 |
Duration: ca. 3 minutes.
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| List | $24.99 |
Instrumentation: for violin, violoncello, alto saxophone, trombone, and percussion
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| List | $160.00 |
The work was commissioned by the Schwetzingen Mozart Festival at the suggestion of clarinetist Nikolaus Friedrich who wished to enrich the rather meagre repertoire for basset clarinet. This edition contains the part of this instrument, much appreciated by Mozart, arranged for modern B-flat clarinet. As the title suggests, audible tonal and motivic analogies have a formative effect in this cycle, the parts of which the composer regards as five “sound poems, interconnected in some ways,” and which also refers motivically to other works by Höller. At the centre is a slow and expressive movement in the character of a lament, which is linked by the seven-tone motto A-B flat-E flat-C-B-E-D (German: a-b-es-c-h-e-d (= “Abschied”, meaning “farewell”)) to the surrounding lively movements, some of which seem deliberately improvisatory. The strings, although accompanying, are hardly less virtuoso than the solo wind instrument, especially in the rapid finale.
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| List | $31.99 |
