78 Sentences With "sextets" | Random Sentence Generator

In collaboration with Emily Coates, the choreographer has reconstructed the rarely seen 1965 "Parts of Some Sextets" for Performa.

"Some Sextets," she said, could "be a way to challenge and complicate the more reductive interpretations" of Ms. Rainer's legacy.

While Parts of Some Sextets packs a visual punch, the graceful conceptual chess behind it is undoubtedly its most beautiful feature.

The groups for the rest of the week are slightly more modest: a trio on Wednesday, sextets on Thursday and Sept.

Ms. Rainer said that reviving "Some Sextets," with its "stack of mattresses that had disappeared I don't know where," had never occurred to her.

Sure enough, Balanchine gives us six pairs, three quartets, two sextets and four trios, with those two demi-soloists often adding a further layer.

Among Ms. Coates's references are the ballerinas of 25s Russian cinema, George Balanchine's "Ivesiana" (28) and Ms. Rainer's "Parts of Some Sextets" (22016). Nov.

Though the Biddle & Smart league boasted several sextets (this is the old-timey word for "hockey team"), none were more remarkable than the Amesbury Maples.

Performances of Yvonne Rainer's Parts of Some Sextets (1965/2019) took place on November 15, 16, and 17 at Gelsey Kirkland Arts Center (29 Jay St, Brooklyn).

I didn't see Yvonne Rainer's long-dormant "Parts of Some Sextets" in 1965, so I can't compare its vivid reconstruction, presented by Performa, with any previous iteration.

Men partner women, women partner men: There are little sextets in which Ms. Copeland and Mr. Cirio are each ritually supported by two members of the opposite sex.

As they perform the 216 revival of Rainer's Parts of Some Sextets (217), the dancers rely upon Bentley's colonial musings to keep time, locating the words that indicate 229-second intervals.

That wit prevails, too, in the music: Listening through the lens of his punny titles (perhaps most infamously in "The Joy of More Sextets"), one hears a Haydnesque wizard of highbrow humor.

The postmodern choreographer Yvonne Rainer is finding that out as she reconstructs, in collaboration with Emily Coates, "Parts of Some Sextets," which she created in 1965 for 10 performers and 21083 mattresses.

In its first performances since 22019, the recent Performa revival of Rainer's Parts of Some Sextets prompts considerations of how we can safeguard the choreographer's visionary oeuvre while staying true to her vision.

A montage of new and old elements, the contemporary Parts of Some Sextets features original audio recordings and about five-eighths of the original score, with new choreography by Rainer in the second half.

Mozart's very courageous and breathtaking gesture is to treat all people of all classes as equals in the quartets and sextets and trios, where people of very different social status are treated equally by the music.

While everyday or pedestrian movement was deemed a valuable and worthy tool by its practitioners, choreographers of that period also featured untrained performers in their works; "Some Sextets" included the visual artists Robert Rauschenberg and Robert Morris.

Parts of Some Sextets typifies the tenets of the Judson Dance Theater, the avant-garde dance collective that Rainer co-founded in the 1960s: it challenges dance's traditional techniques and affect by embracing everyday movements and rejecting spectacle.

Parts of Some Sextets poses similar aesthetic questions in 1965 and 2019, but the revival goes beyond the bounds of the dance itself to ask how we can safeguard Rainer's visionary oeuvre while staying true to her vision.

In 1965, during the exciting postmodern revolution that would forever change the way we see dance, Rainer presented "Parts of Some Sextets," a work for 216 dancers and 22 mattresses constructed of 28 distinct tasks and actions — some simple, some more complex, but none stylized.

PERFORMA 19 BIENNIAL Dedicated to live performance, Performa presents its eighth edition with a variety of headliners, among them Yvonne Rainer, working in collaboration with Emily Coates to stage a new version of "Parts of Some Sextets," which hasn't been seen since the 1960s.

Before its restaging at New York's Gelsey Kirkland Arts Center for this year's Performa 19, Parts of Some Sextets had only been performed twice, over five decades ago in March 1965: once at the Wadsworth Atheneum in Hartford, Connecticut, and once at the Judson Memorial Church in New York.

It has been used as a solvent probe, similar to pyrene. The compound is of theoretical interest to organic chemists because of its aromaticity. It can be described by 20 resonance structures or by a set of three mobile Clar sextets. In the Clar sextet case, the most stable structure for coronene has only the three isolated outer sextets as fully aromatic although superaromaticity would still be possible when these sextets are able to migrate into the next ring.

Among the earliest works in this form are the six string sextets Op. 23 of Luigi Boccherini, written in 1776. Other notable string sextets include the Opp. 18 and 36 of Johannes Brahms, the Op. 48 of Antonín Dvořák, the Souvenir de Florence (Op. 70) of Pyotr Ilyich Tchaikovsky, Verklärte Nacht (Op.

The Life Guards' Dragoon Music Corps presents everything from single fanfare trumpet calls, through brass quintets and sextets up to accompanying music and all 30 musicians performing simultaneously in concert.

Between 1801 and 1804 Gatti helped Mozart's sister, Nannerl to locate unknown pieces by Mozart. He died in Salzburg in 1817. He is famous for writing oratorios, cantatas, sextets and septets.

The earlier octets had significant open and communal spaces, but the ones designed later had more walls and individual rooms. The openness created such an interpersonal intensity that by the end of the first year, thirty one of the thirty two original students had left the octets for other housing. Also, in the first quarter, they went from octets housing eight students, to sextets housing six students. Today most of the apartments, suites, and sextets serve the same purpose as dorm rooms, although they contain private kitchens, bathrooms, and living rooms.

There are earlier string sextets by Luigi Boccherini (two sets of six each). However, between Boccherini and Brahms, very few for string instruments without piano seem to have been written or published, whereas within the decades following Brahms's two examples, a number of composers, including Antonín Dvořák, Peter Ilyich Tchaikovsky, Joachim Raff, Max Reger, Arnold Schoenberg, and Erich Wolfgang Korngold, all wrote string sextets. Those few examples of such sextets that appeared between the Boccherini and the Brahms include a sextuor a deux violins, deux violes, violoncelle & basse from the 1780s (still later than the 1776 or so of Boccherini's Op. 23) by Ignaz Pleyel, Ignacy Feliks Dobrzyński's Op. 39 in E (with double-bass, and published in 1848), Louis Spohr's sextet in C major (Op. 140) of 1848, and the sextet in D minor (with double bass) by Aloys Schmitt of 1852 (one other possible exception is the sextet of Ferdinand David – published in 1861 and possibly performed in 1860.

Opera numbers may be arias, but also ensemble pieces, such as duets, trios, quartets, quintets, sextets or choruses. They may also be ballets and instrumental pieces, such as marches, sinfonias, or intermezzi.Apel, Willi, ed. (1969). Harvard Dictionary of Music, Second Edition, p. 582.

Ensemble layout In classical music, a string sextet is a composition written for six string instruments, or a group of six musicians who perform such a composition. Most string sextets have been written for an ensemble consisting of two violins, two violas, and two cellos.

Orovio, Helio: Cuban music from A to Z. Tumi Music Ltd. Bath, U.K., 2004, p. 135 They synthesized the style of the sextets and septets, adapting it to their ensemble. The different rhythmic layers of the son style were distributed between their three voices, guitars and maracas.

He wrote concerning the String Sextet No. 2 in B minor: "[It] is a work with artistic value close to that of the two Brahms Sextets. Every friend of chamber music should know it." Since 1930, word of the composer and his works has become increasingly silent.

In 1926 he moved to Havana where he met a Spaniard who helped him get a contract to sing at a small café in Havana. In Havana, Machín was exposed to many genres of music. He joined several trios, quartets and sextets. In 1924 Machín formed a duo with the trovador Miguel Zaballa.

The five wind sextets K 213, 240, 252/240a, 253, and 270 have historically been regarded as a series of five Tafelmusik (dinner music) works for the Salzburg court.Erik Smith in The Compleat Mozart. A Guide to the Musical Works of Wolfgang Amadeus Mozart. Neal Zaslaw (ed.), W.W. Norton & Company (New York, 1990).

The Amphidrome burned down on January 9, 1927. The fire was discovered at 3:45 a.m. in the upper floors of the 1907 addition. The fire destroyed a nearby warehouse and the equipment of the Portage Lakes, the Michigan College of Mines hockey team, and the Houghton and Hancock high school sextets.

A sextet (or hexad) is a formation containing exactly six members. The former term is commonly associated with vocal ensembles (e.g. The King's Singers, Affabre Concinui) or musical instrument groups, but can be applied to any situation where six similar or related objects are considered a single unit. Musical compositions with six parts are sextets.

The instrumentation was expanded to include cornets or trumpets, forming the sextets and the septets of the 1920s. Later these conjuntos added piano, other percussion instruments, more trumpets, and even dance orchestra instruments in the style of jazz big bands.Argeliers, L. "Notes toward a Panorama of Popular and Folk Music." Essays on Cuban Music: North American and Cuban Perspectives.

The piece is either played by 12 musicians in total (2 sextets) or one sextet and tape, playing against a recording of themselves, the latter being more popular due to less demand for space and players. The piece has been recorded by Eighth Blackbird and was released on CD on September 14, 2010 along with "2×5".

At that time many sextets were founded such as Boloña, Agabama, Botón de Rosa and the famous Sexteto Occidente conducted by María Teresa Vera. Sexteto Occidente, New York 1926 back: María Teresa Vera (guitar), Ignacio Piñeiro (double bass), Julio Torres Biart (tres); front: Miguelito Garcia (clave), Manuel Reinoso (bongo) and Francisco Sánchez (maracas) A few years later, in the late 1920s, son sextets became septets and son's popularity continued to grow with artists like Septeto Nacional and its leader Ignacio Piñeiro ("Echale salsita", "Donde estabas anoche"). In 1928, Rita Montaner's "El Manicero" became the first Cuban song to be a major hit in Paris and elsewhere in Europe. In 1930, Don Azpiazu's Havana Casino Orchestra took the song to the United States, where it also became a big hit.

A number opera (; ) is an opera consisting of individual pieces of music ('numbers') which can be easily extracted from the larger work."Number opera" in New Grove. They may be numbered consecutively in the score, and may be interspersed with recitative or spoken dialogue. Opera numbers may be arias, but also ensemble pieces, such as duets, trios, quartets, quintets, sextets or choruses.

The rich palette of tone colours associated with the oboes, horns and bassoons actually gives these works a particular sound not found in the works for strings. In addition, Mozart's five sextets are clearly superior to the analogous productions of his contemporaries. These five divertimenti clearly comprise the second stage in Mozart's development as a composer of wind music, the first consisting of the two divertimenti for ten winds (K 186/159b and 166/159d), and the third of the large-scale serenades, K 361/370a, 375, and 388/384a, written in Vienna. The slightly gauche effects of K 186/159b and 166/159d, in which writing in thirds or sixths prevails, have been replaced in these five sextets by a greater mastery of the material which shows itself mainly in the considerably more developed independence of the six voices.

His discography includes both concertos and chamber music ranging from duets to sextets. The Cité de la musique commissioned him a pedagogical work published in 2001 under the title Du musicien en général au violoncelliste en particulier.Xavier Gagnepain, Du musicien en général au violoncelliste en particulier, Cité de la musique, Département pédagogie et documentation musicales, Collection Points de vue, 2001, Xavier Gagnepain teaches at the .

Many musical compositions are named for the number of musicians for which they are written. If a piece is written for six performers, it may be called a "sextet". Steve Reich's "Sextet", for example, is written for six percussionists. However, much as many string quartets do not include "string quartet" in the title (though many do), many sextets do not include "sextet" in their title.

Bratislav "Bata" Anastasijević (April 18, 1936, Niš, Serbia – October 12, 1992, Niš) was a university music professor, pianist, composer, conductor, ethnomusicologist, leader of vocal quartets, quintets, sextets, octets. He also conducted the Naissus Big Band Orchestra. His innovations in music style and genre contributed significantly and permanently to the development of jazz music, stage music and Serbian ethno music in Yugoslavia. He is the grandfather of actress and singer Várvara.

She later studied in Germany with the Italian violist Bruno Giuranna. As a violist in the Raphael Ensemble, she recorded four discs of string sextets. However, it was as a composer that she made her mark, particularly after moving from London to Scotland. She has written a large amount of music for orchestra, including two symphonies and several concertos (for violin, viola, cello, oboe, saxophone, saxophone quartet, trumpet, percussion, flute and accordion).

In the post-war period, many new works were composed for percussion ensemble. In 1960, Alberto Ginastera composed the Cantata para América Mágica, for soprano and large percussion ensemble. Carlos Chávez wrote his second such piece, Tambuco, in 1964. Iannis Xenakis composed two percussion sextets for Les Percussions de Strasbourg, Persephassa (1969), and Pléïades (1979), and in 1996 wrote Zythos, for trombone and six percussionists, for Christian Lindberg and the Kroumata Ensemble.

Jazz quartets typically add a horn (the generic jazz name for saxophones, trombones, trumpets, or any other wind or brass instrument commonly associated with jazz) to one of the jazz trios described above. Slightly larger jazz ensembles, such as quintets (five instruments) or sextets (six instruments) typically add other soloing instruments to the basic quartet formation, such as different types of saxophones (e.g., alto saxophone, tenor saxophone, etc.) or an additional chordal instrument.

For concerts as well as recordings of string quintets (Mozart, Franz Schubert, Johannes Brahms, Anton Bruckner) and string sextets (Brahms) they regularly invited Cecil Aronowitz as second viola and William Pleeth as second cello. Though they emphasized a standard Classical and Romantic repertory, they also performed works by such 20th-century composers as Béla Bartók, and Benjamin Britten who wrote his last string quartet expressly for them, which they premiered after his death.

Andres Luure Andres Luure (born 22 May 1959 in Tallinn) is an Estonian philosopher and translator, and a researcher at Tallinn University. Luure graduated from the Moscow State University in 1983, majoring in mathematics. In 1998, he successfully defended his MA thesis titled "A combinatorial model of referring". In 2006, he successfully defended his Ph. D. thesis titled "Duality and sextets: a new structure of categories" in semiotics at the University of Tartu.

The Cry of My People is an album by avant-garde jazz saxophonist Archie Shepp released in 1972 on the Impulse! label. The album features performances by Shepp with gospel singers, big bands, quintets, sextets, and chamber orchestras. The Allmusic review by Thom Jurek states "Shepp worked with many larger ensembles as a leader, but never did he achieve such a perfect balance as he did on The Cry of My People".Jurek, T. [ Allmusic Review] accessed 25 June 2009.

This includes Folkearth, and Falkenbach. Other folk metal bands expand their regular roster to include more musicians and consequently, it is not uncommon to find bands in the genre featuring six or more members in their line-up. Some of the sextets in the genre are Schandmaul, Cruachan, Korpiklaani, Turisas, and Midnattsol, while septets include Ithilien, Subway to Sally, In Extremo, and Lumsk. Both Silent Stream of Godless Elegy and Eluveitie boast eight members each while the line up of Mägo de Oz totals nine performers.

In addition, his Eight pieces for clarinet, viola, and piano, Op. 83, features the viola in a very prominent, solo aspect throughout. His Concerto for Clarinet, Viola, and Orchestra, Op. 88 has been quite prominent in the repertoire and has been recorded by prominent violists throughout the 20th century. From his earliest works, Brahms wrote music that prominently featured the viola. Among his first published pieces of chamber music, the sextets for strings Op. 18 and Op. 36 contain what amounts to solo parts for both violas.

Ned Wayburn was married three times – first, from 1897 to about 1905, to Agnes Wayburn (née Agnes Lillian Saye; 1876–1949), who had been one of the two original "Florodora" sextets. He then was married, from 1908 to 1916, to Helene "Smiles" Davis (né Helen Sylvia Davis; 1890–1981); and then, from 1916 until his death, to Marguerite V. Lee Kirby (maiden; 1890–1978). Agnes Wayburn was married again, from 1913 until her death, to José Campodónico (born about 1882), a textile manufacturer from Montevideo, Uruguay.

Many of the elements she employed—such as repetition, tasks, and indeterminacy—later became standard features of contemporary dance. In 1965, when writing about a recent dance — Parts of Some Sextets — for the Tulane Drama Review, she ended the essay with what became her notorious No Manifesto, which she "reconsidered" in 2008. In her early dances, Rainer focused on sounds and movements and often juxtaposed the two in arbitrary combinations. Inspired by the chance procedures favored by Cage and Cunningham, Rainer's choreography was a combination of classical dance steps contrasted with pedestrian movement.

There are two double-violin concertos as well. Better known today, however, are the four clarinet concertos, all written for the virtuoso Johann Simon Hermstedt, which have established a secure place in clarinettists' repertoire. Among Spohr's chamber music is a series of no fewer than 36 string quartets, as well as four double quartets for two string quartets. He also wrote an assortment of other quartets, duos, trios, quintets and sextets, an octet and a nonet, works for solo violin and for solo harp, and works for violin and harp to be played by him and his wife together.

The final movement of the Fourth Symphony, Op. 98, is formally a passacaglia. His chamber works include three string quartets, two string quintets, two string sextets, a clarinet quintet, a clarinet trio, a horn trio, a piano quintet, three piano quartets, and four piano trios (the fourth being published posthumously). He composed several instrumental sonatas with piano, including three for violin, two for cello, and two for clarinet (which were subsequently arranged for viola by the composer). His solo piano works range from his early piano sonatas and ballades to his late sets of character pieces.

Other works for this instrumentation written from roughly the same period include those by Johann Nepomuk Hummel, George Onslow, Jan Ladislav Dussek, Louise Farrenc, Ferdinand Ries, Franz Limmer, Johann Baptist Cramer, and Hermann Goetz. Later composers who wrote chamber works for this quintet include Ralph Vaughan Williams, Colin Matthews, Jon Deak, Frank Proto, and John Woolrich. Slightly larger sextets written for piano, string quartet, and double bass have been written by Felix Mendelssohn, Mikhail Glinka, Richard Wernick, and Charles Ives. In the genre of string quintets, there are a few works for string quartet with double bass.

The music department offers lessons for strings, woodwind, brass, traditional instruments, percussion and voice. Students are prepared for graded examinations through the Associated Board of the Royal Schools of Music in both practical and theory. They may also take exams in Traditional Music through the London College of Music and Drums through the ‘Rockschool’ system. The current music groups and ensembles are Senior Orchestra, Training Orchestra, Senior and Junior Chamber Ensembles, several string ensembles such as quartets, trios and sextets, Senior and Junior Choirs, Senior and Junior Barbershop, Chamber Choir, Jazz Ensemble, Irish Traditional Group and a djembe group.

Julian Dash (9 April 1916 – 25 February 1974) was an American swing music jazz tenor saxophonist born in Charleston, South Carolina, probably better known for his work with Erskine Hawkins and Buck Clayton. Julian Dash was a member of the Bama State Collegians, which later became the Erskine Hawkins orchestra. He is recognised, with Hawkins and fellow sax player Bill Johnson, in composing the swing tune "Tuxedo Junction", which became an immense hit when recorded by other (mainly white) bands, notably that of Glenn Miller. In the late 1940s and early 1950s, Julian Dash recorded for Sittin' In With records and later was on the Vee Jay label with his sextets.

The designation divertimento found on each of the autographs is in Leopold Mozart's hand. This and the fact that he numbered the pieces from I to V is a strong indication that he wanted to have the pieces printed. The five divertimenti were, however, never published during the Mozarts' lifetimes, perhaps due to the missing sixth piece. After Mozart’s death, Nissen changed the numbering fixed by Leopold and placed one of the divertimenti for ten winds, K 166/159d, in front of the sextets. Apparently, Johann Anton André was not misled by this and he published a very carefully prepared set of parts in the original order in 1801.

The Neue Mozart Ausgabe (NMA) quite rightly states that the five sextets have been underestimated in both the literature and musical practice: they are seldom performed in concert programs and the relevant literature usually mentions them only briefly without any detailed examination. This underestimation is most likely mainly due to the notion that, as mere "table music", the divertimenti are musically too superficial to deserve the attention the rest of Mozart's oeuvre does. Taking into account the restricted technical capabilities of the wind instruments featured here, these divertimenti can stand comparison with the Italian string quartets from the point of view of both compositional technique and richness of invention.

This venture tugged at Terry's greatest love: involving youth in the perpetuation of jazz. From 2000 onwards, he hosted Clark Terry Jazz Festivals on land and sea, held his own jazz camps, and appeared in more than fifty jazz festivals on six continents. Terry composed more than two hundred jazz songs and performed for eight U.S. Presidents. He also had several recordings with major groups including the London Symphony Orchestra, the Dutch Metropole Orchestra, and the Chicago Jazz Orchestra, hundreds of high school and college ensembles, his own duos, trios, quartets, quintets, sextets, octets, and two big bands: Clark Terry's Big Bad Band and Clark Terry's Young Titans of Jazz.

Earlier lineups of the band were sextets and octets employing extensive use of saxophones, percussion and live keyboards. From 1991 onwards, the band was a rock power quartet centred on two guitars (with the remaining keyboard and percussion parts sequenced on tape). Vocally, Cardiacs employ a distinctive singing style centred on Tim Smith's lead vocals (reedy and high-pitched, with a strong punk-styled Estuary English accent) and choral sections (varying from yelled to falsetto) involving most or all of the band. Smith's singing style has been described by music critics as 'skittish'; it has also been commented that his singing voice sounds very similar to his speaking one.

The concerts in Moscow and Saint Petersburg met with an enthusiastic response and had to be repeated several times. The Stross Quartet helped shape the work of Franco-German reconciliation begun by Adenauer and Charles de Gaulle in his own way: Together with the French Loewenguth Quartet, they performed unusual programmes from 1957 onwards, forming "national-mixed" quartets, sextets and octets and giving guest performances in the major European cities. But his work as a violin teacher always remained central. Thus the Munich Musikhochschule became an internationally radiating "violinist's forge", which produced numerous concert masters and soloists, such as Yūko Shiokawa, Takaya Urakawa, Oscar Yatco and others.

Following the mid-1950s collaboration with Winding, J. J. Johnson began leading his own touring small groups for about 3 years, covering the United States, United Kingdom and Scandinavia. These groups (ranging from quartets to sextets) included tenor saxophonists Bobby Jaspar and Clifford Jordan, cornetist Nat Adderley, trumpeter Freddie Hubbard, pianists Tommy Flanagan and Cedar Walton, and drummers Elvin Jones, Albert "Tootie" Heath, and Roach. In 1957, he recorded the quartet albums First Place and Blue Trombone, with Flanagan, Paul Chambers and Roach. He also toured with the Jazz at the Philharmonic show in 1957 and 1960, the first tour yielding a live album featuring Johnson and tenor saxophonist Stan Getz.

Menuhin has played with the Berlin Philharmonic, the Royal Philharmonic, the English Chamber Orchestra, the Vienna Philharmonic, and the Tonhalle Orchester Zürich among others. His recording of Bartok's Sonatas for violin and piano with his father, Yehudi Menuhin, was awarded the 'Grand prix du Disque'. In recent years Menuhin has rediscovered composing, a legacy of his years with Nadia Boulanger. Among his works he has written a Suite for two pianos in the Baroque Manner, a String Quartet, a piece for 'cello and piano four hands', a Fantasy for two pianos, a double piano concerto and transformed two movements of the Brahms sextets as well as the title movement from Schubert's Death and the Maiden Quartet.

This makes the Sextet more of a chamber piano concerto than a pure chamber piece. This scoring is reminiscent of Johann Nepomuk Hummel's Septet No. 1 in D minor, Op.74 (for piano, flute, oboe, horn, viola, cello and double bass) of 1816, which was issued in a version for piano, violin, viola, cello and double bass (a not unique, but also not a common scoring at that time, the most popular composition for which is Franz Schubert's Trout Quintet of 1819). However, in Mendelssohn's Sextet a second viola is added to this ensemble. Such scoring can be found in Ferdinand Ries's undated Sextet in C major, WoO 76 and Henri Bertini's Sextets Nos.

Reviewing How We Hear Music, which it "recommended warmly" for "virtually every college, university and professional music library", Choice Magazine described "Beament('s) model for the hearing of music" as "not only the most speculative section of the book but also the most brilliant". In a 1997 article for the BBC Music Magazine headlined “Smashing the Strad myth”, Beament dismissed as a myth the popular notion that the Stradivarius produces a sound superior to that produced by other violins. He also answered the question “What is a tune?” for a Q-&-A feature in The Guardian. In his later years he composed a string octet, two string sextets, and a string quintet.

From 1936, Ellington began to make recordings with smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature a specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard. In 1937, Ellington returned to the Cotton Club, which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight, although his situation improved the following year. After leaving agent Irving Mills, he signed on with the William Morris Agency.

The Busch Quartet commanded a vast repertoire. Although its members shared a conservative taste in music, they included virtually all the Classical masterpieces in their repertoire, including at least 30 Haydn works, more Mozart than any of their contemporaries, and all of the Beethoven quartets. With pianist Rudolf Serkin adding a 'perfect fifth' to their group, they were able to expand their programmes even further: for instance, the ensemble's only interwar appearance at the Salzburg Festival was an all-Mozart programme consisting of a violin sonata, a piano quartet and a string quartet. Other concerts might include works for solo violin or piano, duos, trios or piano quintets; and if extra players were recruited, string quintets, sextets, or even the Beethoven Septet and Schubert Octet might be played.

Deutsche Grammophon 4811409 From a live performance at the 2016 Aix Easter Festival, an album containing both String Sextets by Johannes Brahms alongside Renaud Capuçon, Gérard Caussé, Marie Chilemme, Gautier Capuçon and Clemens Hagen was released on EratoErato 9029588837 to great critical acclaim,The Guardian, April 2017Gramophone, June 2017 winning a Diapason d'Or in June 2017.Diapason, June 2017 His conducting debut at the 2013 Salzburg Mozartwoche was followed by concerts at such prestigious venues as the Berlin, Cologne and Munich Philharmonie, Vienna Konzerthaus and KKL Lucerne as well as at the Salzburg Festival. He has enjoyed a close relationship with the Verbier Festival Chamber Orchestra and the renowned French period instrument ensemble Les Musiciens du Louvre. In 2017, Christoph Koncz made his US conducting debut with the Memphis Symphony and conducted the Tonhalle-Orchester Zürich in a masterclass with David Zinman.

Tenor drums are used as a marching percussion instrument, commonly as mounted sets of 4-6 drums allowing one person to carry and play multiple drums simultaneously. Other names for these drums include names specific to configurations by number of drums: "duos" (2 drums), "tris", "trios", "trips", or "triples" (3 drums), "quads" (4 drums), "quints" (5 drums), and "squints," "hexes," "six-packs," "tenors" or "sextets" (6 drums). The number-specific term "quads" is often used as a generic term even for configurations with more than four drums. Typically there are four main drums, usually either 8, 10, 12, and 13 inches in diameter (which is referred to as a high school configuration or small block tenors) or 10, 12, 13, and 14 inches in diameter (referred to as a Corps configuration or big block tenors), plus one or two accent drums (typically 6 or 8 inches in diameter)).

He was a gifted arranger whose transcriptions include the realization of Brahms's two string sextets as piano trios; he also made the vocal score of Brahms's German Requiem and solo piano arrangements of the third and fourth sets of Hungarian Dances and the Liebeslieder Walzer. As a composer, he was an intense romantic lyricist and a natural miniaturist — he is credited with having written over 1000 piano pieces (mainly collected in cycles) of which many are only a minute or so in duration — a kind of 19th-century forerunner of Webern's Bagatelles. His waltzes, opus 23, composed in 1876, are dedicated to Brahms and the suite of 'characteristic pieces', Nachtbilder, opus 25 quotes Brahms's song Wie bist du, meine Königin. There are also some organ pieces and songs and a few choral and chamber works, but no orchestral music at all, though his friend Heinrich Schülz-Beuthen made an orchestral suite out of some of Kirchner's piano pieces.

Outside of the chamber music recordings with the Guarneri Quartet, Tree recorded: :Beethoven Serenade for Flute, Violin, and Viola with Eugenia and Pinchas Zukerman (on Columbia) :Bolcom "Let Evening Come" with Benite Valente and Cynthia Raim (on Centaur Records) :Brahms Viola Sonatas with Richard Goode (on Nonesuch) [1981] :Brahms Horn Trio with Myron Bloom and Rudolf Serkin (on Sony Classical) :Brahms G major Viola Quintet with Isaac Stern, Cho-Liang Lin, Jaime Laredo, and Yo-Yo Ma :Brahms Sextets (on Sony) with Isaac Stern, Cho-Liang Lin, Jaime Laredo, Yo-Yo Ma, and Sharon Robinson :Mendelssohn Octet with Jaime Laredo, Alexander Schneider, Arnold Steinhardt, John Dalley, Samuel Rhodes, Leslie Parnas, and David Soyer :Mozart Violin and Viola Duos (on Nonesuch) with Violinist Toshiya Eto :Mozart (for 2 violins and orchestra) with Jaime Laredo, violin, and Alexander Schneider conducting the Marlboro Festival Orchestra (on Columbia) (here Michael Tree plays violin.) :Schmidt Piano Quintet in G (on Sony Classical) with Leon Fleisher, Joel Smirnoff, Joseph Silverstein and Yo-Yo Ma.

Performance of Double Sextet in Russia Double Sextet is a composition by Steve Reich scored for two sextets of flute, clarinet, violin, cello, vibraphone and piano. It won the 2009 Pulitzer Prize for Music, the first for the composer.Walls (2009 April 24) Seth Colter. "Steve Reich on Winning the Pulitzer for 'Double Sextet'" Newsweek With funds from the Carnegie Hall Corporation, The Abe Fortas Memorial Fund of the John F. Kennedy Center for the Performing Arts, Liverpool Culture Company – European Capital of Culture 2008, The Modlin Center for the Arts at the University of Richmond, Orange County Performing Arts Center, The University of Cincinnati College- Conservatory of Music – Music 08 Festival the piece was commissioned in 2007 by Eighth Blackbird who performed its premiere in 2008, at the University of Richmond in Virginia.. The Liverpool Culture Company (Gordon Ross, music programme manager) was the only non-US commissioning organisation and hosted the rest-of-the-world premiere at St. George's Concert Room, Liverpool on the 21st of November 2008 as part of Liverpool's European Capital of Culture celebrations.

Some Other Time in 1981, with bassist Walter Booker and drummer Idris Muhammad, revealed more of Hicks as a composer, and included his best- known song, "Naima's Love Song". "Hicks led bands from the mid-1970s. His small groups included a quartet of Sonny Fortune, Walter Booker, and Jimmy Cobb (1975–82, from 1990); a trio, without Fortune (from 1981); a quartet or trio, with the flutist Elise Wood added or replacing the drummer; another quartet, with the addition of Gary Bartz; a different trio with Curtis Lundy or Ray Drummond on double bass and Idris Muhammad on drums; quartets involving various of these musicians, as well as Watson, Blythe, Murray, Herring, or Craig Handy, and with Victor Lewis added to the pool of drummers; quintets and sextets whose members have also involved Robin Eubanks and Tolliver (both from 1982), Branford Marsalis (1982–4), Hannibal Peterson (from 1983), Wynton Marsalis (1983–4), Craig Harris (1985–6), Eddie Henderson (1985–6, 1988–90), and Freeman (1985–8); and a big band (formed in autumn 1982 and revived on occasion into the late 1990s)". He played in the UK with Freeman's band in 1989.