The Moaning Fifths. Par BERNICCHIA J.F.. Grâce au compositeur Jean-Claude Soldano, les éditions du même nom ont pu voir le jour dans les années 2000 et ainsi publier des oeuvres de petits compositeurs essentiellement français. C'est le cas du recueil dénommé Pleurs de quintes (the moaning fifths) (violon I, violon II, Alto, Violoncelle) de Bernicchia J-F. qui a été composé pour Ensemble Instrumental et Petit Orchestre / Niveau : 2ème Cycle / Répertoire / Quatuor à Cordes

Arrangeur: Cl. Costa. Par DEBUSSY CLAUDE. Grâce au compositeur Jean-Claude Soldano, les éditions du même nom ont pu voir le jour dans les années 2000 et ainsi publier des oeuvres de petits compositeurs essentiellement français. C'est le cas du recueil dénommé Golliwog's cakewalk (violon I, violon II, Alto, violoncelle) de Debussy Claude qui a été composé pour Ensemble Instrumental et Petit Orchestre / Niveau : Fin de 2ème Cycle / Répertoire / Quatuor à Cordes

Chaconne. Par LERDAHL FRED. Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music. My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach’s D minor violin partita and the finale of Brahms’s Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern. My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl/ Répertoire / Quatuor à Cordes

String Quartet was composed by Mumbai-born Brian Elias in 2012 and was commissioned by the Jerusalem String Quartet. Lasting around 20 minutes this is the full score of the work arranged for Violin I Violin II Viola and Cello. The work has been laid out in the conventional four movements Allegro Adagio Presto Adagio-Allegro-Adagio but it is essentially a work in a single movement to be performed withno breaks. A set of double variations generates the thematic and harmonic material for the entire piece in its first few bars with a brilliant Viola solo afterwards. Throughout the piece changes in dynamics and tempocharacterise the different movements before finally ending with a calming return to the slow music.  You can purchase the individual instrument  Parts here.

Par D\'ADAMO DANIEL. ?Quatuor n°2? was first performed by the Tana string quartet on April 14, 2013, at Radio France, Paris. ?I conceived a piece whose principal subject was going to consist in the description of a minuscule sonic element. The description of this tiny initial material would be so precise, so detailed that, deployed on a much larger scale than its original one, it would occupy the entire duration of the piece. At that point, I just had to choose a sound model as the starting point of the piece, the sound that would best characterize the string instruments themselves: the noisy sound produced by the bow barely coming in contact with one of the strings, getting ready to acquire speed, weight, acceleration, and producing a full sound of a violin, a viola or a cello?? Daniel D?Adamo / Date parution : 2022-02-03/ Répertoire / Quatuor à Cordes