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Books on the topic 'Brahms quintet'

Author: Grafiati

Published: 24 June 2021

Last updated: 1 February 2022

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1

Lawson, Colin. Brahms, clarinet quintet. Cambridge: Cambridge University Press, 1998.

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2

Gray, Edwin John. Analytical approaches to Brahms, using the Clarinet quintet op 115 as a case study. [s.l: The Author], 1990.

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3

Adolphe, Bruce. Triskelion: Brass quintet (1990). Saint Louis, Mo: MMB Music, 1991.

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4

Morawetz, Oskar. Sonata for brass quintet. London, Ont., Can: Jaymar Music, 1992.

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5

Grier, Jon. Five: For brass quintet. [S.l.]: Brass Music, 1986.

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6

House, Lawrence. Music for chorus and brass quintet. [Saskatoon]: Dept. of Music, University of Saskatchewan, 1992.

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7

Huggler, John. Three studies for brass quintet. [Cambridge, Mass.]: Nichols Music, 1987.

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8

Solomon, Edward S. The last goodbye: For brass quintet. San Antonio, Tex: Southern Music Co., 1987.

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9

Kirk, Theron. Sinfonia for brass quintet. San Antonio, Tex: Southern Music Co., 1992.

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10

Tull, Fisher. Olympic fanfare: For brass quintet. [United States?]: Boosey & Hawkes, 1988.

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11

Carter, Elliott. Birthday flourish: For five trumpets or brass quintet. [United States]: Hendon Music, 1993.

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12

Weiner, Lawrence. Prelude, air, and fugue: For brass quintet. San Antonio: Southern Music Co., 1987.

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13

Carlo, Gesualdo. Io pur respiro: For brass quintet. Bryn Mawr, Pa: T. Presser, 1990.

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14

Walker, Gwyneth. Shaker tunes: Brass quintet (1993-94). Saint Louis, MO: MMB Music, 1996.

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15

Mauldin, Michael. Children of the dancing valley: For brass quintet. Century City, Calif: Trigram Music, 1988.

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16

Stubley, Eleanor Victoria. Unpublished Canadian brass compositions for heterogeneous trio, quartet, and quintet: An annotated and graded list for student performers. Brandon, Manitoba: [E. V. Stubley], 1986.

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17

Tull, Fisher. Concerto da camera: For alto saxophone and brass quintet. San Antonio, Tex: Southern Music Co., 1989.

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18

Druckman, Jacob. Other voices: For two trumpets in C, horn in F, tenor trombone and bass trombone. [New York?]: Boosey & Hawkes, 1993.

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19

Druckman, Jacob. Other voices: For two trumpets in C, horn in F, tenor trombone and bass trombone. [New York?]: Boosey & Hawkes, 1993.

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20

Gershwin, George. Rialto ripples. Century City, CA: Trigram Music, 1994.

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21

Ryden, William. The wedding album: For two trumpets, horn, trombone, and bass trombone or tuba. Boca Raton, Fla: Masters Music Publications, 1999.

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22

Ran, Shulamit. Fanfare for 2 trumpets, 2 horns, and trombone. Bryn Mawr, Pa: T. Presser, 1994.

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23

Williams, Spencer. Basin Street blues. Milwaukee, WI: Hal Leonard, 1999.

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24

Amy, Gilbert. Symphonies pour cinq cuivres. Paris: Amphion, 1993.

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25

Giurgiu, Eugen. Un quintet de Brahms. Xlibris Corporation, 2007.

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26

Johannes, Brahms. Music Minus One Bb Clarinet or A Clarinet: Brahms Clarinet Quintet in b, op. 115 (Book & CD). Music Minus One, 1998.

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27

Richter, Sviatoslav. Brahms & Franck piano quintets. 2018.

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28

Two Great Clarinet Quintets Mozarts Quintet In A Major K 581 Brahmss Quintet In B Minor Opus 115. Dover Publications, 2010.

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29

Lott, Marie Sumner. Audience and Style in Brahms’s String Chamber Music. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039225.003.0006.

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This chapter discusses Johannes Brahms' string chamber music. Brahms' seven chamber works for strings alone fall neatly into three categories according to chronology and genre. They reflect the gradual changes evident in their composer's style at significant stages in his compositional development: the two sextets stem from his “first maturity,” the three string quartets represent what might be called a “high maturity” that flourished in Brahms' early Viennese years, and the two string quintets demonstrate a “late” style developing in the 1880s and 1890s. The chapter then looks at the connections between Brahms's systematic exploration of these genres and the audiences he chose to address in them.

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30

Johannes, Brahms. The Budapest String Quartet in Brahms. 2017.

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31

Street Song Brass Quintet. Hal Leonard Publishing Corporation, 1997.

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32

Harbison, John. Christmas Vespers: Brass Quintet. Associated Music Publishers, 1992.

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33

Danielpour, Richard, and R. Danielpour. Urban Dances for Brass Quintet, Score & Parts. Hal Leonard Publishing Corporation, 1992.

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34

Previn, André. Hoch soll er leben!: For brass quintet. 2018.

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35

Gérard, Streletski, Bosc Catherine, and Concours international de musique de chambre (2005 : Lyon, France), eds. Le quintette de cuivres: Aspects historiques et actualité. Lyon: Symétrie, 2005.

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36

Gérard, Streletski, and Département de musicologie de l'Université Lumière-Lyon 2., eds. Le quintette de cuivres: Aspects historiques et actualité : [actes du colloque, Lyon, 23 avril] 2005. Lyon: Symétrie, 2006.

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37

Johnsen, Bredo. Righting Epistemology. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190662776.001.0001.

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David Hume launched a historic revolution in epistemology, but allies appeared only in the twentieth century, in the persons of Sir Karl Popper, Nelson Goodman, and W. V. Quine. Hume’s second great contribution to the field was to propose reflective equilibrium theory as the framework within which to understand epistemic justification. The core of this book comprises an account of these developments from Hume to Quine, and an extension of reflective equilibrium theory that renders it a general theory of epistemic justification concerning our beliefs about the world. In chapters on Sextus, Descartes, Wittgenstein, and various aspects of Hume’s epistemology, the author defends new readings of those philosophers’ writings on skepticism and notes significant relationships among their views. Finally, in appendices on Hilary Putnam’s “Brains in a Vat” and Fred Dretske’s contextualism, the author shows that both fail to rule out the possible truth of radical skeptical hypotheses. This is not surprising, since those hypotheses are in fact possible. They do not, however, have any epistemological significance, since epistemic justification is a function of the extent to which our bodies of beliefs are in reflective equilibrium, and no extant conception of knowledge is of any epistemological interest.

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