Prelude and Fugue, WTC Book I, No.22, by J.S.Bach
Transcribed for Woodwind Quintet by John W. Pratt, PDF $16.00
Though written for keyboard, this Prelude and Fugue from Book I of Bach's Well-Tempered Clavier is wonderfully adaptable to an instrumental quintet. The Prelude, with its serene harmonic pacing, reveals an almost Schubertian sublime beauty, and the magical counterpoint of the five-part fugue emerges crystal-clear. The challenge for the players, as well as the pleasure, lies in ensemble achievements, not technical difficulties in individual parts. Scored for Flute, Oboe, B-flat Clarinet, Horn, and Bassoon, with an alternate part for Alto Flute in place of Oboe.
Score, 6 pages; Parts, 2 pages each for Flute, Oboe (plus alternate Alto Flute), Clarinet, Horn, and Bassoon; Total, 20 pages.Preview
Prelude and Fugue, BWV 532, by J. S. Bach
Arranged for Woodwind Quartet by John W. Pratt
Score and Parts, PDF $15.97
Click to listen to computer-generated audio samples from the score; audio clips from the Prelude (m4-22) and the Fugue (m14-27), are separated by a brief pause.
Score, 16 pages; Flute part, 5 pages; Oboe part, 6 pages; Bb Clarinet part, 6 pages; Bassoon part, 5 pages;Total, 46 pages.Preview
Toccata, Adagio, and Fugue in C major, BWV 564, by J. S. Bach
Arranged for Woodwind Quartet by John W. Pratt
Score and Parts for Flute, Oboe, Clarinet, & Bassoon, PDF $21.25
excerpted from JWP’s © foreword to the edition:
Among J. S. Bach's big organ works, the Toccata, Adagio, and Fugue, BWV 564 is atypical in ways that make it unusually well suited to transcription for woodwind quartet. Unlike most, it has a middle movement, an Adagio with an elaborate and gorgeous melody which lies comfortably for flute and can benefit greatly from the shaded, nuanced dynamics and articulations that a solo flutist can provide. The other winds bring out Bach's beautiful voice-leading in the Adagio's two inner parts and its marching but not martial bass. The four-part Fugue is unusual, too—light and lighthearted, happily adaptable to woodwinds, with no call for great power and, rather than a climactic ending, a fading coda that defies convincing treatment on the organ. The exuberant Toccata starts with an extended manual solo passage ... mostly in 32nd notes, which ... I felt it would be more effective as a game of frequent handoffs between instruments than as a series of longer individual études. The pedal solo, mostly 16ths, calls for the extra weight of doubling.
Click to listen to a computer-generated audio sample from the end of the Toccata into the beginning of the Adagio.
Score, 17 pages; Flute part, 6 pages; Oboe part, 5 pages; Bb Clarinet part, 5 pages; Bassoon part, 4 pages; Total, 46 pages.Preview
For Children, by Béla Bartók
Selected Pieces arranged as Duos or Trios for Winds by John W. Pratt
extracted from the preface: Béla Bartók was not only a major composer in a post-Romantic extended tonal style, but he was also a superb pianist with a precise technique, a scholarly explorer of folk music, and a serious pedagog. Folk melodies and harmonies strongly influenced his music, both indirectly and often directly, including many of his orchestral and chamber works, as well as solo piano pieces ranging in difficulty from easy to virtuosic. His For Children (Gyermekeknek, 1908-1909, Sz. 42) was written for solo piano, and the original Books 1 and 2 contained 42 pieces after Hungarian folksongs and 43 pieces after Slovakian folksongs, respectively. Besides the usual purposes of music written for children, Bartók sought to broaden their musical experience with, for instance, modal and other scales, and harmonies outside the traditional western canon. For Children is by no means pablum; though the notes may be easy to play, these pieces have a lot else to offer. They were written when Bartók’s folksong research was well under way and his notational efforts at their peak. Students, teachers, and every-day players can make as much of them as they like ... as simple tunes for beginners content to learn basic notes and rhythms, or as more advanced studies on articulation, musicality, etc.
John Pratt is in the process of arranging Bartók’s For Children for various wind duo and trio combinations. More editions will be added as they become available (all as downloadable PDFs). Note that each edition is organized for convenient page turns, if printed two-sided in its entirety. Click the edition you want to purchase in the table below and Add to Cart.
► Bartók - For Children, Book 1 - arr. for Flute (or Oboe) and Bb Clarinet - PDF $14.75
Many of the For Children folksongs are entirely or mostly for two voices, like Bach’s two-part inventions in style if not structure or harmony, and thus convenient for wind duo and no more childish for Bartók than Bach. Many others are also adaptable to flute or oboe and clarinet or bassoon, mostly by spreading the left-hand chords in time. This edition includes 25 pieces from Book 1 (after Hungarian folksongs) arranged as duets; all of them can be played by clarinet and either flute or oboe, but we also include alternative versions with octave changes that are better suited to oboe for six of the pieces. We provide a score, but not separate parts, as both players can easily play off copies of the score.
Click to listen to computer-generated audio samples from the score; audio clips of #11 Me and the Rain with flute and clarinet and #32 Wedding Day and Night with oboe and clarinet are separated by a brief pause.
Score, 26 pages; Total, 30 pages. Preview: Book 1, Flute (or Oboe) and Clarinet
► Bartók - For Children, Book 2 - arr. for Flute (or Oboe) and Bb Clarinet - PDF $12.75
Two Songs, Op.91, by Johannes Brahms
Transcribed for Clarinet by John W. Pratt (part originally for viola)
Clarinet Part, PDF $5.99
The two chamber music songs of Brahms' Zwei Gesänge, Op.91 were composed specifically for his dear friends, the violinist/violist Joseph Joachim and the mezzo-soprano Amalie Schneeweiss, who were married in 1863. The songs (for alto, viola, and piano) were written over 20 years apart, but Brahms published them together as Op.91 in 1884.
"Gestillte Sehnsucht", which appears first in the Op.91 pairing, was actually written second, in 1884. The song sets the text of the poem by Friedrich Rückert (1788-1866). "Gestillte Sehnsucht" is a nature poem, filled with images of forests at sunset, gentle breezes, and twittering birds. Rückert is famous not only for his exquisite poems themselves but also for the great inspiration his work provided to numerous prominent composers, in addition to Brahms. "Geistliches Wiegenlied" (Sacred Cradle Song) was first composed in 1863-1864, and later revised. The viola opens with the melody of the medieval Christmas carol "Joseph, lieber Joseph mein." The singer has her own variation of the melody, and enters after the first stanza of the viola's carol. The song is a beautiful cradle-rocking lullaby, in 6/8 time.
It is said that the viola was Brahms' favorite stringed instrument, and the composer gave the viola a major role in both of these songs, allowing it to open both pieces before the singer enters. Clarinetists have long coveted these viola parts, and various performances have provided clear evidence that a successful outcome can be achieved with the substitution of a clarinet for the viola in Op.91. So when a clarinetist friend of ours asked us to create a transcription for him, we gladly obliged. Our edition of the clarinet part adapts the first song, "Gestillte Sehnsucht", for clarinet in A, and the second, "Geistliches Wiegenlied", for clarinet in Bb. The original piano score and voice part are in the public domain, readily available as free PDF downloads from IMSLP.org.
Clarinet part, 4 pages; Total, 8 pages.Preview