Franzosisches Lied: Est-ce Mars? for Saxophone Quintet

By: Samuel Scheidt arr. Keith Terrett
For: Quintet of Woodwinds
page one of Franzosisches Lied: Est-ce Mars? for Saxophone Quintet

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Franzosisches Lied: Est-ce Mars? for Saxophone Quintet

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Composer
Samuel Scheidt arr. Keith Terrett
Arranger
Difficulty
Difficult (Grades 7+)
Duration
6 minutes
Genre
Classical music
License details
For anything not permitted by the above licence then you should contact the publisher first to obtain permission.

An arrangement for Saxophone Quintet of Samuel Scheidt's Franzosisches Lied: Est-ce Mars?

Scheidt was born in Halle, and after early studies there, he went to Amsterdam to study with Sweelinck, the distinguished Dutch composer, whose work had a clear influence on Scheidt's style. On his return to Halle, Scheidt became court organist, and later Kapellmeister, to the Margrave of Brandenburg. Unlike many German musicians, for example Heinrich Schütz, he remained in Germany during the Thirty Years' War, managing to survive by teaching and by taking a succession of smaller jobs until the restoration of stability allowed him to resume his post as Kapellmeister. When Samuel Scheidt lost his job because of Wallenstein, he was appointed in 1628 as musical director of three churches in Halle, including the Market Church.

Scheidt was the first internationally significant German composer for the organ, and represents the flowering of the new north German style, which occurred largely as a result of the Protestant Reformation. In south Germany and some other countries of Europe, the spiritual and artistic influence of Rome remained strong, so most music continued to be derivative of Italian models. Cut off from Rome, musicians in the newly Protestant areas readily developed styles that were much different from those of their neighbors.

Scheidt's music is in two principal categories: instrumental music, including a large amount of keyboard music, mostly for organ; and sacred vocal music, some of which is a cappella and some of which uses a basso continuo or other instrumental accompaniment. In his numerous chorale preludes, Scheidt often used a "patterned variation" technique, in which each phrase of the chorale uses a different rhythmic motive, and each variation is more elaborate than the previous one, until the climax of the composition is reached. In addition to his chorale preludes, he wrote numerous fugues, suites of dances (which were often in a cyclic form, sharing a common ground bass) and fantasias.

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An Eb Alto Saxophonist Goes Ballroom Dancing, Air on the G string for Bb Tenor Saxophone Duo, Little Fughetta in G minor for Wind Quartet, Little Fughetta in G minor for Saxophone Quartet, That’s A Plenty for Recorder Quintet (Jazz for Just 5 Series), Berceuse (Opus 16) for Bb Bass Clarinet & Harp (Piano), Tico-Tico no fubá for Bb Soprano, Tenor Saxophones & Piano, Ave Maria for Bb Tenor Saxophone, Keep the Fire Alive for Bb Soprano Saxophone & Concert Band, Tin Roof Blues (Rusty Nail Blues) for Saxophone Quintet ''Jazz for 5 Wind Series'', Battle Hymn of the Republic ’’Mine Eyes Have Seen the Glory’’ for Saxophone Quintet, Lullaby for a Soprano Saxophonist, Piano & Double Bass, Trumpet Tune from the Island Princess for Saxophone Quintet, Solveigs sang (fra Peer Gynt Suite No. 2, Op.55) for Bb Clarinet & KB, The Gypsy Alto Saxophonist in New Orleans , Solveigs sang for Bb Tenor Saxophone & Keyboard, Lullaby for a Tenor Saxophonist, Keyboard & Double/E.Bass, Pachelbel’s Canon for 7 Bb Soprano Saxophones & 1 Bass Saxophone, Come Back To Sorrento(Torna a Surriento) for Eb Alto Saxophone & Piano, Victory in Europe Day March for Concert/Wind Band (Keith Terrett Classic March Collection), Morning has Broken (Bunessan) for Young Concert Band, Vesti La Giubba for Eb Alto Saxophone & Piano, Una Furtiva Lagrima for Bb Tenor Saxophone & Piano, A Serenade for Saxophone Quintet, Prelude from Te Deum (Eurovision Song Contest Theme) for Eb Alto Saxophone & Organ w pedals (Student version), Quando Me’n Vo for Bb Soprano Saxophone & Piano, Eternal Father Strong, to Save (Naval hymn) for Saxophone Quartet-Quintet, SUO-GAN for Bb Tenor Saxophone & Piano, SUO-GAN for Eb Alto Saxophone & Piano, SUO-GAN for Bb Soprano Saxophone & Piano, Piri piri for Concert/ Wind Band, Frankie & Johnny for Eb Alto Saxophone & Piano, Hava Nagila (Let us Rejoice) for Flexible Band, Arrival of the Queen of Sheba for two Soprano Saxophones & String Orchestra, Frankie & Johnny for Bb Soprano Saxophone & Piano, Arrival of the Queen of Sheba for Saxophone Quintet, Two Arias for Wind Quintet, Czardas for Bb Soprano Saxophone & Piano, Czardas for Bb Soprillo Saxophone & Piano, Swing Low, Sweet Chariot for Bb Tenor Saxophone & Keyboard, Swing Low, Sweet Chariot for Bb Soprano Saxophone & Keyboard, Czardas for Eb Alto Saxophone & Piano, Von fremden Landern und Menschen for Saxophone Quintet, Swing Low, Sweet Chariot for Eb Alto Saxophone & Piano and A Serenade for Eb Alto Saxophone & Keyboard

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