Franzosisches Lied: Est-ce Mars? for Wind Quintet

By: Samuel Scheidt arranged by Keith Terrett
For: Quintet of Marimbas [grand staff]
page one of Franzosisches Lied: Est-ce Mars? for Wind Quintet

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Composer
Samuel Scheidt arranged by Keith Terrett
Arranger
Difficulty
Moderate (Grades 4-6)
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.

Franzosisches Lied arranged for Classical Wind Quintet.

This arrangements makes a challenging work for your group, who should relish the rich sonorities of Scheidt’s tapestry.

A wind quintet, also sometimes known as a woodwind quintet, is a group of five wind players (most commonly flute, oboe, clarinet, horn and bassoon). The term also applies to a composition for such a group.

Unlike the string quartet with its homogeneous blend of color, the instruments in a wind quintet differ from each other considerably in technique, idiom, and timbre. The modern wind quintet sprang from the ensemble favored in the court of Joseph II in late 18th century Vienna: two oboes, two clarinets, two horns, and two bassoons (Suppan 2001). The influence of Haydn’s chamber writing suggested similar possibilities for winds, and advancements in the building of these instruments in that period made them more useful in small ensemble settings, leading composers to attempt smaller combinations.

It was Anton Reicha’s twenty-four quintets, begun in 1811, and the nine quintets of Franz Danzi that established the genre, and their pieces are still standards of the repertoire. Though the form fell out of favour in the latter half of the 19th century, there has been renewed interest in the form by leading composers in the 20th century, and today the wind quintet is a standard chamber ensemble, valued for its versatility and variety of tone color.

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 over 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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Vedrò con mio Diletto Aria: from the Opera "Il Giustino" for Guitar & String Quartet, Vedrò con mio diletto Aria from the opera "Il Giustino" for French Horn & Keyboard, Prelude from the Te Deum for French Horn & Organ (Lower version), Prelude from Te Deum for Flute & Organ, Jazz it up:When the Saint’s Go Marching In for Alto Flute & Piano, Stanley Trumpet Voluntary for Two solo Oboes & Piano, Jazz it up:When the Saint’s Go Marching In for Bass Clarinet & Piano, Trumpet Tune from the Island Princess for Flute Quintet/Choir, Trumpet Tune from the Island Princess for Wind Quintet, Declamation for Bassoon & Piano, Cwm Rhondda for Clarinet Choir, Fanfare & Soliloquy for Cor Anglais & Piano, Chorale Partita with Seven Variations for Wind Quintet (Alle Menshen), The Saint’s Visit Havana with a Touch of W.A.M. for Oboe & Piano, Cwm Rhondda for Flute Quartet, Stanley Trumpet Voluntary for Oboe & Organ + Pedals, Swing Low, Sweet Chariot for Flute & Keyboard, Stanley Trumpet Voluntary for two Oboes & Organ (no pedals), Declamation for Oboe & Piano, Jerusalem for Flute Quintet (And Did Those Feet In Ancient Times), Twenty Minute Tango for Bb Clarinet & Piano, O Mio Babbino Caro for Oboe & Piano, Declamation for Bb Trumpet & Piano (Pro-version), O Mio Babbino Caro for Flute & Piano, Overture from the Suite in D for two French Horns & Keyboard, Stanley Trumpet Voluntary for Flute & Organ, Twenty Minute Tango for Oboe & Piano, Two Arias for Oboe Consort, Scenes from Childhood for Clarinet Quintet, Arrival of the Queen of Sheba for two Clarinets & String Orchestra, Arrival of the Queen of Sheba for two Bassoons & String Orchestra, March from ’Judas Maccabaeus’ for Wind Quartet (School Junior Wind Series) with optional KB & Percussion, Träumerei for Flute Choir, Franzosisches Lied: Est-ce Mars? for Clarinet Choir, Prelude from the Te Deum(Eurovision Song Contest Theme) for two Oboes & Organ, Träumerei for Flute & Piano, Swing Low, Sweet Chariot for French Horn & Keyboard, Declamation for Flute & Piano, Two Arias for Oboes, Horns & Bassoon, Lily the Pink for School Brass Quartet with KB & Drums, 8 Swinging Xmas Carols for Bassoon & Piano, Arrival of the Queen of Sheba for Oboe Consort, Two Arias for Wind Quintet, 8 Swinging Xmas Carols for Oboe & Piano, Czardas for Bassoon & Piano, Were You There? Flute & Piano, Air on the G String from the Suite No. 3 in D for Oboe & Orchestra , Arrival of the Queen of Sheba for two Oboes & String Orchestra, Two Arias for Clarinet Choir, Cwm Rhondda for 2 Oboes & English Horn, 8 Swinging Xmas Carols for French Horn & Piano, Czardas for Oboe & Pianoforte, What Shall We Do With The Drunken Bassoonist?, 7 julsangs (Xmas Carols) for Woodwind Quartet (Norwegian Christmas carols), What Shall We Do With The Drunken Oboist?, What Shall We Do With The Drunken Wind Quintet?, The Gypsy Oboist in New Orleans , Eternal Father Strong, to Save (Naval hymn) for Oboe Consort, Twenty Minute Tango for Flute & Piano, The Saint’s Visit Havana with a Touch of W.A.M. for F Horn & Piano, Swing Low, Sweet Chariot for Wind Quintet, Czardas for Flute & Piano, Amazing Grace for Flute & Pianoforte, Amazing Grace for Oboe & Piano, O Mio Babbino Caro for French Horn & Piano, Tin Roof Blues (Rusty Nail Blues) for Clarinet Quintet ''Jazz for 5 Wind Series'', Fanfare & Soliloquy for Flute & Piano, Träumerei for Oboe Consort , Were You There? Oboe & Piano, Vesti La Giubba for Bb Clarinet & Piano, Stanley Trumpet Voluntary for Wind Quintet, Air from the Suite No. 3 in D for Oboe & Keyboard, Arrival of the Queen of Sheba for Clarinet Quintet +, O Mio Babbino Caro for Bb Clarinet & Piano, Air on the G String from the Suite No. 3 in D for Solo F Horn & String Orchestra, Stanley Trumpet Voluntary for Two Flutes & Piano, Jasmine Flower (The) for French Horn & Piano, Vesti La Giubba for Flute & Piano, Air from the Suite No. 3 in D for Oboe Quartet, No. 1 of Trois Gnossiennes for French Horn & Piano, Vesti La Giubba for French Horn & Piano, Czardas for Flute & Concert Band, Hebrew Slaves Chorus from Nabucco for Clarinet Quintet, Pachebel’s Canon for Flute Choir/Octet, Amazing Grace for French Horn & Piano, O Sole Mio for Bassoon & Piano, Fugue for 6 Bassoons, Amazing Grace for Bassoon & Piano, Frankie & Johnny for Clarinet Quintet, All Things Bright and Beautiful for Clarinet Choir & SATB, Badinerie from Suite No.2 for Bb Clarinet & Piano, A Serenade for Bb Clarinet & Keyboard, Be Thou My Vision (Hymn Tune: Slane) for Clarinet Quintet, 7 Popular carols in Norway for two Bb Trumpets, Air from the Suite No. 3 in D for Woodwind Quartet, Keep the Fire Alive for solo Flute & Concert Band, Hebrew Slaves Chorus from Nabucco ("Va, pensiero") for Wind Quintet, Air on the G string for Clarinet Duo, A Serenade for Wind Quintet, Israeli National Anthem (Hatikvah) for Wind Quintet (World National Anthem Series)., Lullaby for a Bassoonist with Keyboard & Double Bass/Guitar, Lullaby for a Clarinettist, Keyboards & String / E. Bass Guitar, Lullaby for an Oboist, Keyboard & Bass, In Dulci Jubilo "In sweet rejoicing" for Wind Quintet, In Dulci Jubilo "In sweet rejoicing" for Oboe Consort, Keep the Fire Alive for Solo French Horn & Concert/Wind Band, Vedrò con mio Diletto: Aria from the Opera "Giustino" for Solo Oboe & String Quartet, Nimrod for Clarinet Quintet, African Anthem Wind Quintet, African Anthem Flute Quintet, Moonlight Serenade for Oboe & Piano, Moonlight Serenade for Bassoon & Piano, Rondo Alla Turca for Bb Bass Clarinet & Piano, Salut d'Amour Loves Greeting Opus 12 for French Horn & Piano, Arrival of the Queen of Sheba for Wind Quintet, African Anthem for Clarinet Quintet and Rondo Alla Turca for Oboe & Piano

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