SKU: A0.549868

Beethoven Sonata Op. 49 No. 2 arranged for woodwind quintet.
Instrumentation:
1 flute, 1 oboe, 1 clarinet in Bb, 1 French horn, 1 bassoon.
Duration: ca: 10:15 Score: 30 pages, 242 measures. In two movements. A great recital piece to demonstrate nuances of the woodwind quintet.

Sonata Op. 49 No. 2

Arranged from Beethoven’s Piano Sonata No. 20, this is a simple but interesting work in two movements showing the composers sense of humor. The first movement Allegro ma non troppo and the second movement Tempo di Menuetto are both in the key of G. Both Sonatas 19 and 20 (op. 49, No. 1 & 2) are named Easy Sonatas because they are technically easier than the usual Beethoven Sonatas. This makes them very popular among students and teachers alike.

Beethoven Background

Ludwig van Beethoven (1770 –1827) was certainly a German pianist. Above all, he was probably one of the greatest composers in history. As a result, he is a pivotal character in the progress between the Classical and Romantic periods. He is certainly one of the most famous and hence important of all composers. Seems like his most familiar and noteworthy works include symphonies 1-9; piano concertos 1-5; and furthermore, the violin concerto. Also, certainly of extreme importance are the noteworthy 32 sonatas for the piano; the string quartets 1-16; the Missa solemnis; and likewise, his only opera, Fidelio.

Beethoven Overview

First of all, Beethoven was born and consequently raised in Bonn. Upon turning 21 he moved to Vienna probably to study composition with Haydn. That’s when he consequently grew a reputation as a brilliant pianist. Furthermore, he probably stayed in Vienna the rest of his life. In his late 20s it seems like his hearing certainly began to decline. It slowly declined until consequently he was nearly totally deaf probably by the last decade of his life. As a result, he stopped conducting and performing. Nevertheless, he continued to compose. As a result, some of his greatest works probably come from this period.

First Period

Seems like we often divide Beethoven’s life into three periods. Period 1 begins with Beethoven’s arrival in Vienna. Hence, during this period, he mastered the Viennese style of Haydn & Mozart. He consequently began increasing the size and scale of his works. Furthermore, he experimented with extreme dynamics, and likewise extreme tempi. He worked similarly with chromatic harmony. His First and Second Symphonies therefore belong to this period. Other important works also belong here: the first six string quartets and the Sonata Pathétique, Op. 13.

Second Period

His second period probably began as soon as he realized that he was going deaf. During this period, it seems like he became obsessed with the idea of heroism. His works consequently become even larger and more massive. The most noteworthy of these include the symphonies 3 – 8, piano concertos 5& 6, 5 string quartets, several important piano sonatas (Waldstein and Appassionata), the Kreutzer violin sonata, the violin concerto and his only opera: Fidelio.

Third Period

In contrast, Beethoven's third period is branded above all by works of incredible intellectual depth, formal innovation, and penetrating expression. It seems like he continued to expand his works. Consequently, the string quartet Op. 131 spills over into seven connected movements. Likewise, in the Ninth Symphony he adds choral forces to his orchestra probably for the first time in history. Even more, other works from this period include his Missa solemnis, the final 5 string quartets (including the enormous Große Fuge) and the final five sonatas for piano.

SKU: A0.1116455

This adaptation was intended for a small group of woodwind quintet, where the original essence of the piece was kept, however, with a reduction in the duration, where only the main themes of the opening were extracted. As it is simplified, it is intended for beginner students of instrumental music who want to enter orchestral music, even in a simplified and reduced form, and can be used by music teachers with their students in ensemble practice in situations such as academic recitals, didactic concerts, or assessment tests. The Symphony No. 5 in C minor, Op. 67, known as the Symphony of Destiny, by Ludwig van Beethoven, written between 1804 and 1808, is one of the most popular and best known compositions in the entire repertoire of European music. The four movements are characterized by orchestral homogeneity, being, at the same time, an example of alternation: the first movement, revealing great tension, denounced by the strings and raised to an extreme drama; the second movement reveals solemnity, in a funeral march that rises by its emotion and beauty; the third movement, a crispness; the fourth movement expresses triumph and magnificence.

SKU: A0.755253

Emoticons III is the third in a series of compositions that are designed to be aural representations of images that reflect emotions. This composition has eight short movements and is scored for wind quintet.

I. Nebulous – The wandering tonality, slow tempo, frequent shifts of color, and lack of cadences gives this movement a feeling of vagueness.

II. Puckish – This Allegretto movement has a playful quality that is created by staccato articulations, melodic leaps, unexpected use of rests and sudden tonality shifts to express an impish quality.

III. Excited – A fast tempo and technical passages along with driving rhythms help this movement express excitement.

IV. Horrified – Angular melodic lines, trills, dissonant chords, extreme ranges, and accents are all used to create this emotional representation.

V. Jocular – This playful movement in an Allegretto tempo uses staccato, syncopation, meter change, dotted rhythms, and angular melodies for its laughing sounds.

VI. Scattered – A Presto tempo with hemiola, staccato notes, and light scoring are used throughout this short movement that feels like it is constantly changing direction.

VII. Regretful – This Lento movement has sad legato lines with unresolved dissonances at the beginning and end. The middle section creates a sense of hope but quickly returns to the sorrowful sound.

VIII. Confident – This movement is in a march style with strong accents. Its clear lines and rhythms help portray strength in one’s beliefs.

SKU: A0.1079299

Two wind quintets in a rich jazz ballad style. For Flute, Oboe, Clarinet, Horn and Bassoon. These pieces explore the lush chord voicings that only such a close-knit group of instruments can create. Although slow, these pieces explore the whole range of all instruments and pass through some fairly extreme keys making them more of a challenge for advanced players of grade 7 upwards.

SKU: A0.1408410

Https://en.wikipedia.org/wiki/Southern_Man_(song)
https://en.wikipedia.org/wiki/Slavery_in_the_United_States
This is a setting of Neil Young's SOUTHERN MAN (from the album AFTER THE GOLD RUSH) for woodwind 
quintet and optional percussion.
The song is chosen by the arranger as a reponse to recent confisions surrounding the poisonous
legacy of Slavery, and various questionable debates regarding its history in America.
Ironically, the arranger was originally ready to mention the song written as a response to this
song by the band Lynyrd Skynyrd, but found interesting information on Wikipedia (the links are
provided). Apparently the song by Young that spurred Lynyrd Skynyrd to write SWEET HOME ALABAMA
was the one titled simply ALABAMA, which is on the album HARVEST. Also interesting was the 
information that the bands and composers did get along, even showing this by wearing each other's
t-shirts when performing.
This arrangement is advanced grade 3 or grade 4, with no extreme playing in the outer registers,
or meter changes, etc.. The optional percussion can be added to create a more solemn-march feel.
The socio-political element is not varied or diffused in any way. If possible, the complete lyrics
should be contained in program notes. This piece offers a serious contemplation of the history and
horror of Slavery in America.