Par CANNABICH CHRISTIAN. Bien que la mélodie du hautbois, de la tessiture passable est due à donner la préférence à jouer le rôle peut être aussi avantageux à partir d'un C-clarinette. La partie de basson est brillamment conçu et spécifique à l'instrument./ Répertoire / Hautbois, Violon, Alto et Violoncelle

Work for Oboe Violin Viola and Cello. Parts available: CH56341.This quartet was commissioned by the Institute of Contemporary Arts and written in the autumn of 1967. It is dedicated to Lady Norton and is the second of LennoxBerkeley’s three works written with the oboist the late Janet Craxton in mind the other two being his Sonatina OP 61 and Sinfonia Concertante OP 84.The work begins with a fairly extended introduction leading without a breakinto an Allegro. The whole composition is based on the internal of a third (sometime major sometimes minor) which is heard in the opening phrase of the introduction and again in the main theme of the Allegro though here in atotally different context. The allegro is in more or less traditional sonata form. The middle movement is a kind of Scherzo growing out of a rhythmical figure for the strings and a rapid arpeggio (major and minor chords) forthe oboe. This is a Presto; a more relaxed middle section corresponding to the Trio in a classical work is followed by a much shortened version of the Scherzo. The last movement is brief but very slow all four instrumentstaking up in turn a gently rocking figure that moves to and fro between two notes always a major or minor third apart. The music becomes more animated but returns to the opening figure and dies away each instrument droppingout one after the other leaving the cello alone in the last bar.

Cantilena was commissioned by the London Chamber Music Society to celebrate their move to King's Place in October 2008. First performed by Nicholas Daniel and members of the Chilingirian Quartet at King’s Place London on 5th October 2008. The work is a short lyrical piece where an outsider [the oboe] joins the group [a string trio] and adds to their dialogue. At first the newcomer is treated with a mixture of suspicion and agitation but eventually is made welcome. The oboe is invited to share the musical theme that has been established which he then proceeds to embellish and adorn. He leads the harmonic changes that result in the theme being heard in manydifferent keys. He then introduces a new theme. The excitement grows and leads to a climax. A peaceful coda re-establishes the original theme and all ends harmoniously among the integrated quartet.