Description
Eduard Franck’s two string sextets, op. 41 in E-flat major, published in 1882/84, and op. 50, in D major, completed in December 1884 but published posthumously in 1894, fall mysteriously outside of their era. They are a significant addition to the rather concise repertoire for string sextet, joining the two works in this genre by Johannes Brahms.
Eduard Franck was one of the very few private students of Felix Mendelssohn Bartholdy, who was himself a close friend of the Franck family, so that Eduard was firmly rooted in the Mendelssohn tradition. But what is particularly exciting in the sextets, is how he consistently further developed Mendelssohn’s immanent genre-defining tendencies, thus founding a conservative alternative to the Schumann-Brahms course.
PB 33002
study score
String Sextets No. 1 Op. 41 and No. 2 Op. 50
EAN: 9790004216927
136 pages / 16.5 x 22.5 cm / 277 g / softbound
PB 33002D
study score
String Sextets No. 1 Op. 41 and No. 2 Op. 50
EAN: 9790004816141
138 pages / 16.5 x 22.5 cm / digital edition
EB 32045
set of parts
String Sextet No. 1 in E flat major Op. 41
EAN: 9790004186459
100 pages / 23 x 30.5 cm / 404 g / folder
EB 32045D
set of parts
String Sextet No. 1 in E flat major Op. 41
EAN: 9790004815274
101 pages / 23 x 30.5 cm / digital edition
EB 32049
set of parts
String Sextet No. 2 in D major Op. 50
EAN: 9790004186473
76 pages / 23 x 30.5 cm / 318 g / folder
EB 32049D
set of parts
String Sextet No. 2 in D major Op. 50
EAN: 9790004815281
75 pages / 23 x 30.5 cm / digital edition
Description
Description
Eduard Franck’s two string sextets, op. 41 in E-flat major, published in 1882/84, and op. 50, in D major, completed in December 1884 but published posthumously in 1894, fall mysteriously outside of their era. They are a significant addition to the rather concise repertoire for string sextet, joining the two works in this genre by Johannes Brahms.
Eduard Franck was one of the very few private students of Felix Mendelssohn Bartholdy, who was himself a close friend of the Franck family, so that Eduard was firmly rooted in the Mendelssohn tradition. But what is particularly exciting in the sextets, is how he consistently further developed Mendelssohn’s immanent genre-defining tendencies, thus founding a conservative alternative to the Schumann-Brahms course.