All scores that include a part for at least one clarinet.
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“Among the big Bach organ fugues, BWV 532 is unusually well suited to woodwind quartet. Written during Bach's early, carefree Weimar period (only four children to support), it is high-spirited and can even be read as witty. It benefits from having a separate sonority for each voice, especially when the countersubject interjects a perky comment in the subject's empty space. It has rapid passage work throughout, almost suggesting Mendelssohn—but his chamber music, not his organ music! It makes almost no significant use of the sheer power of the mighty “king of instruments”; the way the voices are brought in and deployed in itself provides the excitement and variations in volume. Woodwinds have ample piano and forte capabilities for the purpose. The Prelude is also readily adapted to woodwind quartet, consisting mainly of a straightforward four-part Alla breve.The Prelude’s brief introductory and concluding material includes pedal scales and other flourishes that are no less effective for being easy to play on winds. // The arrangement here preserves Bach's four voices almost exactly.” — from J. W. Pratt’s foreword to the edition
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
Ecstasy, Op.19 No.2, by Mrs. H. H. A. Beach
Two versions, for "Low voice (in Db)" or "High voice (in Eb)", with Alto Flute Obbligato (transcribed) and Piano.
Alternative parts for Alto Flute Solo and Bb Clarinet Obbligato.
Program Notes by Peter H. Bloom.
Piano Scores, Voice Parts, Alto Flute Obbligato Parts, and alternative Alto Flute Solo Parts and Clarinet Obbligato Parts; PDF $8.99
Noteworthy Sheet Music is thrilled to publish our edition of Amy Marcy Cheney Beach's song Ecstasy in 2017, in celebration of the 150th anniversary of the composer's birth. The idea to make Ecstasy available to a broader combination of players and singers came from flutist Peter H. Bloom, who proposed that the piece would be an excellent vehicle with which instructors might inform students (early and advanced alike) about interpretation of the highly romantic late 19th century idiom. To that end, we have packaged together in a single edition Mrs. H. H. A. Beach's two versions of Ecstasy, for "low voice (in Db)" and "high voice (in Eb)", with each version including transcriptions of the obbligato (originally for violin) for either alto flute in G or clarinet in Bb, and an alternative solo part in the form of an alto flute transcription of the voice line. Thus, multiple performance variations are possible, including high or low voice and piano with either alto flute or clarinet obbligato, or fully instrumental versions for alto flute and piano, or two alto flutes and piano, or alto flute, clarinet, and piano.
Scores, 8 pages (4 pages each version); Voice parts, 2 pages (1 page each version); Alto Flute Obbligatos, 2 pages (1 page each version); Clarinet Obbligatos, 2 pages (1 page each version); Alto Flute solo parts, 2 pages (1 page each version); Total, 20 pages.Preview
From the Drawer, by Peter H. Bloom
Contemporary Composition for Tenor or Soprano, with Flute (doubling Piccolo), Clarinet in B-flat, Bassoon, and Horn in F
Score and Parts, PDF $13.99
Peter H. Bloom is a Boston-based flutist, whose original compositions and arrangements are published by Noteworthy Sheet Music. From the Drawer was written for Tenor or Soprano, with Flute (doubling Piccolo), Clarinet, Bassoon, and Horn, and provides a musical setting for the intensely emotional poem by Constantine Cavafy.
Here are Peter Bloom's comments about From the Drawer from the composer's preface (Copyright © 2015) to the edition:
"Constantine Cavafy’s 1923 poem, From the Drawer, captures the acerbic condition of longing, the impossibly private nature of affection, and the occultation of time. Its poignancy is universal; transcending gender, age, era, place, and even translation. Rather than rely on one particular translation of Cavafy’s text, I’ve drawn on a number of versions to arrive at a paraphrase that both informs and is shaped by the musical score.
The musical setting is a sonic image of the intensely emotional response to a flood of memory that informs the poet’s narrative: now pensive, now anxious, now wistful, now joyous, now fraught, now resigned, and ever mercurial." P. H. Bloom, September 19, 2015
Our sheet music edition of From the Drawer was featured on the New Products page of the Summer 2016 edition of "The Flutist Quarterly", journal of The National Flute Association.
Score, 14 pages; Tenor or Soprano part, 2 pages; Flute part, 4 pages; Clarinet part, 3 pages; Bassoon part, 3 pages; Horn part, 3 pages; Total, 29 pages.
We also offer a professionally-printed hard copy edition of From the Drawer for $23.78 plus a $5.95 shipping and handling fee. Due to prohibitively high international shipping rates, we ship print editions only to addresses in the USA. Please use the Contact Us form to let us know which hard copy publication(s) you would like to purchase, along with your email contact information and USPS mailing address. We will then send you a PayPal invoice for the sale and, once we receive notice from PayPal that you have paid for the item(s), we will ship your music to the address provided.
Drei Duette, Op.20, by Johannes Brahms
Transcribed for Mixed Voice, Instruments, and Piano by John W. Pratt
Score for Soprano, Alto, and Piano; Transcribed upper voice Parts for Violin/Oboe, Alto Flute, and A-Clarinet; and Transcribed lower voice Parts for Violin/Oboe, Alto Flute, A-Clarinet, and Viola; PDF $12.99
Composed in 1858–1860, the Drei Duette, Op. 20, for soprano and alto are the earliest of Johannes Brahms' duets and quartets for solo voices and piano. The three songs are titled Weg der Liebe (1. Teil), Weg der Liebe (2.Teil), and Die Meere. Except for brief canonic passages in No. 1, the voices have the same words, sung simultaneously, mostly in parallel thirds and sixths. The accompaniments are straightforward, without Brahmsian ensemble challenges but not without harmonic interest. Many have found the songs Mendelssohnian. The words come from the collection Stimmen der Völker of Johann Gottfried Herder (1744–1803). The first two are translations by Herder of two parts of a Northern English folk poem Love will find out the Way. The third is Italian in origin.
The vocal parts lie well for many instruments, opening the possibility of mixed voice and instrument, as well as fully-instrumental, performances. If one voice is replaced by an instrument, no words will be lost and the result will be a song with wonderful instrumental obbligato and piano accompaniment. If two instruments are used, the result is a beautiful "song without words." We include in our edition transcriptions of both voices for oboe/violin, alto flute in G, and clarinet in A, and of the lower voice for viola as well. Our transcriptions provide slurs to suggest a vocal style to instrumental players and to facilitate coordination of the instrumental parts with those of the voices. We also provide a re-notated piano/vocal score, in which repeat signs are used in the second and third songs to save page turns, rather than writing out the multiple stanzas as in the original. For those needing only the piano/vocal score, the Breitkopf & Härtel edition is in the public domain and freely available on imslp.org.
Piano/Vocal Score, 10 pages; Instrumental Parts, 3 pages each; Total, 42 pages.Preview
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
Acht Stücke, Op.83, by Max Bruch
Transcribed for Clarinet, Alto Flute, and Piano by Davies, Pratt, and Vater
Alto Flute Part, PDF $9.98
Originally scored for clarinet, viola, and piano (or violin, cello, and piano), Bruch's Acht Stücke (Eight Pieces) adapts nicely for a trio with clarinet, alto flute, and piano. Bruch's beautiful melodies are well served by the rich tones of the alto flute.
In creating this transcription of the viola part for alto flute, we have taken great care to maintain the spirit and character of the original instrumentation. We provide here the alto flute part. The piano and clarinet parts are readily available in the public domain as free pdf downloads of the score and parts. Here is a link to one such source: Piano Score and Clarinet Part
Alto Flute part, 17 pages; Total, 19 pages.Preview
Sonata in D Major, Op.5, No.1, by Giuseppe Maria Cambini
Transcribed for Flute and B-flat Clarinet by R.A.Evans
Score and Parts, PDF $7.99
Giuseppe Maria Cambini (1746-1825) was an Italian-born violinist and composer. He was one of the most prolific composers of his era, particularly of instrumental works, of which he wrote over 600, including numerous symphonies, 149 string quartets and over 100 trios, as well as ballets, operas, & oratorios. Flutists will know him for his concertos and extensive body of chamber works featuring the flute, including duos, trios, quartets and quintets.
Cambini wrote his Sonata in D Major, Op.5, No.1 for two flutes, and Noteworthy Sheet Music has published a re-notated version of the flute duet at the suggestion of flutist Richard A. Evans, who long ago obtained the music from the Library of Congress and believed it undeserving of its current obscurity. Aware of the scarcity of music composed for flute-clarinet duos, Mr. Evans also initiated this flute-clarinet edition of Cambini's Sonata in D Major by transcribing the flute-2 part for clarinet in B-flat. We at NSM agreed that the Op.5, No.1 duet should be made more readily available to present-day musicians and audiences, in both the flute-flute and flute-clarinet versions. Our editions provide both scores and parts, and incorporate articulation and dynamic edits supplied by Mr. Evans.
Score, 8 pages; Flute part, 4 pages; B-flat Clarinet part 4 pages; Total, 22 pages.Preview
Grande Sonate, by Franz Danzi
transcribed for Piano and Clarinet by John W. Pratt
Piano score and B♭ Clarinet part, PDF $14.99
Danzi’s Grande Sonate, Opus 62, written for piano and basset horn, was published around 1823, along with an alternative part for cello. Please see additional information about this piece in the article describing our re-notated basset horn edition. The Grande Sonate comprises four movements and provides both sparkle and mellow rich beauty. It is nicely adaptable to other winds, particularly the clarinet. Certain passages in the final movement of the original work seem to invite elaboration or improvisation by the solo instrument, and arranger John Pratt offers suggestions for possible additions or alternatives for the clarinet, making it even more fun to play.
Piano Score, 28 pages; B♭ Clarinet Part, 7 pages; Total, 40 pages.Preview
Sonata in D Major, Op.10, No.1, by François Devienne
Duet transcribed for Flute and Clarinet
Score and Parts, PDF $9.99
François Devienne (1759-1803) was a French composer, flutist and bassoonist, as well as a professor at the Paris Conservatory. His compositional output included: 12 operas; many concerted pieces for various wind instruments, with orchestra; overtures; concertos, quartets, trios, sonatas, etc. for flute, piano, and other instruments; 12 suites; numerous romances, chansons, etc.; and an influential flute method book, Méthode de flûte (1795).
Noteworthy Sheet Music published this edition of Devienne's Sonata in D Major, Op.10, No.1 at the suggestion of flutist Richard A. Evans, who long ago obtained the original flute-flute duet from the Library of Congress and believed it undeserving of its current obscurity. Aware of the paucity of repertoire available for flute and clarinet, and realizing the piece would work nicely for that instrument pair as well, he transcribed the second flute part for B♭ clarinet. We at NSM agreed that the duet, which has two movements, Allegro spirituoso and Rondo: Allegro poco presto, should be made more readily available to present-day musicians and audiences. Our edition provides both score and parts and incorporates articulation and dynamic edits supplied by Mr. Evans.
Score, 10 pages; Flute part, 5 pages; B♭ clarinet part, 5 pages; Total, 24 pages.
Sonatina, Op.100, by Antonín Dvořák
Transcribed for Clarinet in A (and Piano) by J.W.Pratt and C.A.Vater
A-Clarinet Part, PDF $11.99
From 1892 to 1895, Czech composer Antonin Dvorak (1841-1904) was in the United States, serving as the director of the National Conservatory of Music in New York City. He wrote his Sonatina in G major (Opus 100, B. 183) for violin and piano in 1893, and in some ways it reminds us of his triumphant Symphony No. 9, "From the New World", which was composed the same year. The Sonatina was written for and dedicated to Dvořák's own children. It has an average duration of 20 minutes and consists of four movements: I. Allegro risoluto; II. Larghetto (Indian Lament); III. Scherzo. Molto vivace; and IV. Finale. Allegro.
In transcribing this popular work for clarinet, we have incorporated several changes in the part to account for sonic differences between the clarinet and the violin. In so doing, every effort has been made to maintain the spirit and character of the original composition. In places the New World feel is even stronger with a wind instrument. We provide here our transcribed A-clarinet part only; Dvořák's original piano part works well with the new clarinet part, and the score for violin and piano is readily available in the public domain as a free pdf download from imslp.org.
A-Clarinet Part, 11 pages; Total, 14 pages.Preview
Na Rua dos Meus Ciúmes, Traditional Fado
Arranged for Woodwind Quintet by Antonio F. Figueiredo
Parts and Score, PDF $10.00
Na Rua Dos Meus Ciúmes is a traditional Portugese fado, still highly popular among recording artists today. This passionate love song tells the story of the intense jealousy experienced by a girl upon seeing her lover pass by with another woman on the street near her home. Though her pain is palpable, the girl is proud and determined to endure her suffering resolutely and without tears.
Antonio Figueiredo was born in the Azores, Portugal, and now resides in Massachusetts. He grew up listening to (and falling in love with) fado music, with all its romance and passion, and its timeless themes of love, loss, jealousy, poverty, and the sea. Figueiredo is a bassoonist who plays regularly in various orchestras and chamber music groups in the Boston area. He enjoys arranging folk tunes for woodwind quintet, and he created this delightful and engaging arrangement of Na Rua Dos Meus Ciúmes for one of his own groups. The piece is scored for flute, oboe, clarinet in B-flat, horn in F, and bassoon.
"This brief piece is a charming addition to the quintet repertory." Read John Ranck's full review of Figueiredo's arrangement of Na Rua Dos Meus Ciúmes.
Score, 5 pages; Parts, 1 page each; Total, 12 pages.Preview
Moon Shadows, by Walter A. Finlayson
Contemporary Composition for 2 Flutes, 2 Clarinets, Bass Clarinet, and 9 Percussion Instruments
Score and Parts, PDF $14.25
Walter Finlayson (1919-2000) was an American composer, musician, educator, and music innovator, with nearly twenty original compositions and some forty arrangements to his credit. While serving in the navy, he played saxophone and clarinet in the US Naval Reserve dance band, seated next to the great Artie Shaw. Finlayson's ASCAP output includes music for band, dance band, orchestra, voice, and chorus. His compositions and arrangements have been published by Boosey & Hawkes, EB Marks, Boston Music, and Mercury Music, and performed by major college marching band programs. One of his best-known compositions is I Had a Premonition, which was written for voice and piano, but which was later arranged for the Jimmie Lunceford Orchestra, one of the preeminent bands of the swing era. A recording of the tune can be heard on The Jimmie Lunceford Collection: 1930-47 compact disc released in 2014 on the Fabulous label, and on YouTube.
Noteworthy Sheet Music's chief editorial consultant Peter H. Bloom received Finlayson's previously-unpublished score for Moon Shadows from the composer's daughter, and we were impressed with its quality and sophistication. For a piece written in the late 1930's or early 1940's, as Gale Finlayson recollects (the score is not dated), Moon Shadows seems remarkably ahead of its time. The work is scored for two flutes, two clarinets, bass clarinet, bells, vibraphone, xylophone, finger cymbals, maracas, bongos, roll cymbals, temple blocks, and tympani. We notated our modern edition of the piece as faithfully as possible based on the hand-written Finlayson score; our edition of Moon Shadows includes both score and parts. We at NSM are pleased to aid in the re-discovery of some of Walter Finlayson's works; for additional information about this interesting composer, please visit the Our Composers page under About Us.
Score, 19 pages; Parts for Flute-1, Flute-2, Clarinet-1, Clarinet-2, Bass Clarinet, Bells, Vibraphone, Xylophone, Finger Cymbals and Maracas, Bongos and Roll Cymbals, Temple Blocks, and Tympani, 1 page each; Total, 34 pages.Preview
Deux Esquisses, by Philippe Gaubert
transcribed for Clarinet and Piano by C. A. Vater
Clarinet part and Piano score, PDF $9.99
Philippe Gaubert was a prominent French flutist, composer, and conductor who held a professorship at the Paris Conservatory and principal conducting positions at the Paris Opéra and the Orchestre de la Société des Concerts du Conservatoire. We’ve created a transcription of his Deux Esquisses (Two Sketches) for B♭ clarinet, complete with piano score. These pieces were written for flute and piano but are nicely adaptable for other winds. They were originally published by Heugel & Cie, in 1915 (No.1) and 1914 (No.2), and are now in the public domain. No.1, Soir sur la Plaine (Evening on the Plain), opens intriguingly with the solo instrument playing alone, repeating a single note. This motif sets the lovely, mysteriously forlorn tone of Soir sur la Plaine, and returns multiple times later in the piece. No.2, the second sketch, is Orientale, which, as its name suggests, evokes an atmosphere seemingly strange and foreign, Eastern.
Piano Score, 10 pages; Clarinet part, 4 pages; Total, 20 pages.Preview
Elegy, Op.44, by Alexander Glazunov
Transcribed for Bb Clarinet (and Piano) by John W. Pratt
Clarinet Part — PDF $3.99
Alexander Konstantinovich Glazunov (b. St. Petersburg, 1865; d. Paris, 1936) was a major composer in the late Russian romantic tradition. His Elegy, Op.44, was written for viola and piano in 1893, and has been transcribed by John W. Pratt for Bb clarinet. The piece is about 6 minutes long, elegiac but not lugubrious. It consists of a lovely melody in 9/8 enhanced by a simple but warm piano accompaniment. The viola melody is readily transcribed for other instruments, since it is without double stops. The piano part is freely available at IMSLP.org.
Clarinet part, 2 pages; Total, 6 pages.
The Wreck of the Hesperus, by J. L. Hatton & H. W. Longfellow
Arranged for theatre or salon orchestra by Peter H. Bloom
Tenor, Flute, Clarinet, Violin, Viola, & Double Bass Parts, and Mini-Score ― PDF $19.98
The "dramatic scena" was an especially popular entertainment at its zenith in the mid-nineteenth century throughout the English speaking world. John Liptrot Hatton's setting of Longfellow's Wreck of the Hesperus is the very model of the dramatic scena at its finest, and a magnificent showcase for an heroic tenor. Longfellow's ballad recounts a chilling tale loosely based on conflated reports of two New England shipwrecks that occurred during a single devastating blizzard in 1839. This arrangement of Wreck of the Hesperus for theatre or salon orchestra was made for the now retired D.C. Hall's New Concert and Quadrille Band of Boston, and their extraordinary tenor Kevin McDermott. It can be heard on the Hall's Band's CD recording "Grand Concert," winner of the Noah Greenberg Award of the American Musicological Society. (excerpted from Peter H. Bloom's © foreword)
The D.C. Hall's Grand Concert! CD is available from NSM - click to access the page.
Tenor part, 4 pages; Flute part, 2 pages; Bb Clarinet part, 2 pages; Violin part, 2 pages; Viola part, 2 pages; Double bass part, 2 pages; Mini-Score, 8 pages; Total, 26 pages.Preview
We also offer a professionally-printed hard copy edition of The Wreck of the Hesperus for $29.97 plus a $5.95 shipping and handling fee to addresses in the USA. Please use the Contact Us form to let us know which hard copy publication(s) you would like to purchase, along with your email contact information and USPS mailing address. We will then send you a PayPal invoice for the sale and, once we receive notice from PayPal that you have paid for the item(s), we will ship your music to the address provided.
Fantasia in C major, by F. J. Haydn
Arranged as a Duet for Flute and Clarinet by John W. Pratt
Flute Part, A Clarinet Part, and Mini-Score ― PDF $12.99
Fantasia in C major (Op.58; Hob. XVII:4) was written by Haydn in 1789 for the pianoforte. Based on a folk song about a farmer's wife chasing her cat, one can easily imagine in the music kittenish scampering, stealthy approaches, unexpected pounces, and mad chases with abrupt changes of direction. The style and playfulness of the piece lend themselves well to flute and clarinet. The transcription is able to capture the feel Haydn intended, with new coloring, while at the same time affording flutists and clarinetists the joy of experiencing the work first-hand. (adapted from JWP's foreword to the edition)
Flute part, 6 pages; Clarinet in A part, 6 pages; Mini-score in concert pitch, 6 pages; Total, 24 pages.Preview
Trio, Hob. XV:18, by Franz Joseph Haydn
transposed to B-flat major and arranged for Woodwind Quartet by John W. Pratt
Score and Parts for Flute, Oboe, B-flat Clarinet, and Bassoon; PDF $20.97
As noted in the arranger’s forward to the edition, the later piano trios of Franz Joseph Haydn (1732-1809) are superb music, but because they were written for excellent pianists and weak string players, they are dominated by the piano part. This imbalance among the parts actually makes the trios highly amenable to and effective in arrangement for woodwind quartet. Written after Haydn’s first visit to London, the Piano Trio in A major, Hob. XV:18, was first published in 1794. The first of its three movements, a flowing Allegro moderato, is unified by ingenious use of the three-note motif opening its cantabile main theme. The lovely middle Andante, in ABA form and 6/8 meter, features some luxurious ornamentation and proceeds attacca to the spirited and humorous Allegro finale. The resources of a woodwind quartet are well suited to the musical ideas of this trio, and the arrangement adapts Haydn’s piano, violin, and cello lines wonderfully to the range and sonority of the instruments used: flute, oboe, B-flat clarinet, and bassoon. This adaptation is facilitated by transposition from Haydn’s original key of A major to B-flat major. We provide parts plus a score in concert pitch.
Click to listen to computer-generated audio samples from the score; audio clips from movements I (m44.4 - m64.3), II (m0 - m4.5 & m49.6 - m54.5), and III (m36.2.2 - m48) are separated by brief pauses.
Score in concert pitch, 21 pages; Flute part, 8 pages; Oboe part, 6 pages; B♭-Clarinet part, 5 pages; Bassoon part, 5 pages; Total, 52 pages.Preview
Trio, Hob. XV:25 ‘Gypsy’, by Franz Joseph Haydn
arranged for Woodwind Quartet by John W. Pratt
Score and Parts for Flute, Oboe, B♭-Clarinet, and Bassoon; plus, an alternative A-Clarinet part; PDF $16.97
Short summary adapted by NSM from John W. Pratt’s foreword to the edition:The trios Hob. XV: 24-26 were, in Robbins Landon’s account (Haydn, Indiana, 1976), probably the last works Haydn delivered to his publishers before he left England in 1795. They were written for strong amateur pianists and weak string players, and although the string parts are essential for their effects on sonority, they are not terribly interesting. Such a scenario lends itself beautifully to arrangement of these piano trios for wind quartet.
Haydn labeled the finale of Hob. XV: 25 "in the Gypsies' style", and the trio became an enormous favorite. In the key of G, it opens with a particularly lovely slow movement having alternating minor and major variations. The third variation is in the relative minor (e), anticipating the key, E major, of the even slower, but subtle and melodically rich, second movement. This retardation heightens the effect of the famous finale.
We have provided alternative parts for clarinet in B-flat and in clarinet in A. Some players may wish to use the A-clarinet only in the second movement, for the sake of the friendlier key signature and perhaps also for sound, depending on the instrument.
Click to listen to computer-generated audio samples from the score; audio clips from movements I (m42-48, m72-78), II (m57-63), and III (168-190) are separated by brief pauses.
Score in concert pitch, 17 pages; Flute part, 6 pages; Oboe part, 4 pages; B♭-Clarinet part, 6 pages; Bassoon part, 4 pages; alternative part for A-Clarinet, 6 pages; Total, 56 pages.Preview