Though conceived as four separate movements my second string quartet has a single motif which is common to them all. This is the three-note 'Muss es sein?' from Beethoven's last quartet Op. 135. But whereas Beethoven's theme is notated G E A flat thus giving it an F minor connotation I have sued an alternative spelling - G E G sharp - which suggests an ambiguous E minor-major. This ambiguity in fact becomes the tonal basis of the whole work only to be resolved at the end of the final movement.Each movement begins with a variant of the basic motif on the cello. The first has the original form of the theme while the second has a 'majorised' version which is alsoexpressed as a chord. The third movement with its 'scherzoid' middle section reverts to the major-minor ambiguity of the first and the finale begins with the 'majorised' version as an ostinato accompaniment on pizzicato cello.The slow movement is sub-titled 'In memoriam DSCH' and concludes with a quotation of Shostakovich's motto - D E flat C B - which is basically the same as Beethoven's with the addition of one note.This is not to imply that the work contains no other thematic material. One important theme a rising fifth and a second is also common to three of the movements and is ultimately derived from my first quartet Op. 1 of 27 years earlier to which this second contribution to the form is in many ways like a sequel. Like the earlier work too this quartet is dedicated to my wife.

Three Divertimenti Plus The Spring Dissonance And Prussian No.- Quartets-Divertimenti were a popular genre in the 18th century offering listeners a lighthearted 'diversion' at social functions. Mozart wrote these three pieces for string quartet in Salzburg in 1772. The three-movement Italian-style compositions require only wind parts to assume another form hence their common description as the 'Salzburg Symphonies.'This authoritative inexpensive edition of the ever-popular composer's works features three additional quartets: 'Spring ' 'Dissonance ' and 'Prussian No. 1' QuartetsDover Original.

Par YE XIAOGANG. 'Datura was commissioned by Accessible Contemporary Music and was written in a unique way. I composed the piece in installments over the summer of 2006 and emailed them to Seth Boustead who forwarded them on to the ensemble. In this unique way of working I was able to have time between each installment to think about what would come next and to get feedback from the performers about the music. This is a very new and different way for a composer to work. Usually I write the piece in solitude and then hand it to the performers but writing in installments allows more communications between the performers and the composer and allows the audience to hear the piece as its created. Datura is another series of pieces composer written about Asian plants and flowers. Datura is a very common houseplant in south China and very beautiful but it can also be used as a hallucinogen, usually with unpleasant results. In this piece the composer juxtaposed the other beauty of the plant with the intense inner would it can create by using alternately tranquil and intense musical passages.' (Xiaogang Ye)/ Répertoire / Flute, Violin, Cello and Piano

Impressions On Beethoven's Harp Quartet. Par AMANTI LUCIO. When Cuarteto Casals approached me with the idea of illuminating Beethoven´s quartets anew, you can imagine the many thoughts and feelings that where going through my mind: what a joy, what a great honor… What an intriguing head-scratcher! How can you possibly shine a new light on something that is already perfect? Weeks, months went by in search of a common ground between the Master and myself until I finally found it in the realization that a word lays “hidden” in the St. John’s hymn that gave musical notes their original name: ‘Re, Sol, Ut, Io’ (D, G, C, B in English music notation) Perfect! “Resolutio” in Latin means both the resolution of a problem and the re-solution: a re-blend of many elements that will eventually coagulate to make something new. There was finally the melodic and a rhythmical canvas for my piece. On this canvas I wrote the story of a funny little contest, played on a sunny Mediterranean square, between street musicians and Cuarteto Casals just minutes before they are about to go on stage to perform Beethoven´s “Harp Quartet”. After all the characters, each in his own way, had the chance to tell their story, a gentle rain starts to fall, dissolving (Re-solving) again the music sheet to eventually leave us with just a white piece of paper for somebody else to continue the Work. (Lucio Franco Amanti) / Niveau : Avancé / Répertoire / 2 Violons, Alto et Violoncelle

Contemporary String Quartet Repertoire For New and Developing Ensembles-The Discover series is part of three progressive collections of contemporary string quartet repertoire from leading composers to encourage and facilitate the development of ensemble playing. Compiled and edited by Liz Partridge each volume contains graded works commissioned especially for this series designed for quartets formed of players of similar ability. Featuring a mixture of musical styles and genres each piece contains different elements and techniques to consolidate and enhance the players’ skills as soloists and as ensemble members. An accompanying CD provides demonstration recordings of all included pieces. Minus-one tracks are availableto download online to allow for individual practice between rehearsals. Discover Series: Contemporary string quartet repertoire for new and developing ensembles. An introduction to quartet ensemble playing for string players of grade 1-3 standard. Familiar keys common rhythms and transparent musical forms ensure the short pieces and miniatures featured within Discover are accessible to all. Emphasis is firmly focussed on playing together as a unit.

To see the summer sky for Violin and Viola falls into four movements. The first movement opens with the two instruments sounding almost as one playing very high glassy harmonics. Gradually an expressive viola solo emerges withboth instruments descending to their lower ranges. A livelier quasi scherzando solo for violin accompanied by viola pedal notes leads to a chorale like passage the violin at the top of its range whilst the viola is at itslowest. The movement ends with the two instruments coming together once again on a unison Bb and fades away almost as it has begun but this time in the husky lower registers.The second movement is much faster and openswith a downward flurry for both instruments. A continuous pizzicato line for viola is interrupted by more violent passages in the violin. The two instruments come together in a dance-like passage before the roles are reversed.Finally an ecstatic melody surfaces in the viola and is later continued in the violin before the movement closes with the spiky figures of its opening the two instruments ending in unison.The third movement encompasses isthe most delicate and still music of the piece. After a very tranquil opening an expressive violin melody is accompanied by a gentle rocking figure in the viola. Tentative at first intensity and speed gather until the violinreaches stratospheric heights. Both of the instruments play at the extremes of their registers before moving to common ground for a more lively textural passage. This is followed by a passionate reminder of the movement’s opening gradually fading away to nothing.The piece ends with a Moto Perpetuo. The instruments begin by dovetailing a single line which develops into two strands before a more violent section appears punctuated by strident doublestops. Both instruments have slightly manic solo episodes before the movement quickly dies away in the single line of its opening

Based on a well-known Chinese folk song a common influence in Sheng's works. In this setting the viola should evoke the timbre and tone quality of a female folk singer.

Commissioned by the Wigmore Hall for the composer's 60th birthday with funds from ACNI.'viola:piano is one of a set of 6 pieces which I wrote in 2008 and 2009. Two of the others violin:piano and cello:piano requirethe instrumentalists to play at different tempi from each other throughout. In this piece the players are playing together but their material is for the most part quite different and for the first 12 minutes the two partshave little in common. It is only after this that they begin a more conventional contrapuntal relationship. This is the first of these pieces to be premiered. It was commissioned by the Wigmore Hall with funding from the ArtsCouncil of Ireland. The piece is dedicated to Mary R?rich.'????????????- Kevin Volans

The first part of Gorecki's remarkable cycle Genesis is a gritty and unforgiving exploration of pure sound and sonority. The strings are treated to a huge variety of effects and techniques including tremolandi glissandi bridge bowing and de-tuning. This approach creates an ever changing and fluctuating timbral journey that has more in common with the Fluxus school Gerard Grisey or even Edgard Varese than with the seminal Symphony of SorrowfulSongs. Music of the very elements themselves.

Ave Maria was composed in about 1825 by Franz Schubert (1797-1828) when he was twenty-eight years old and filled with devotion to the Blessed Virgin Mary. It was written for voice and piano and first Published in 1826 as Op 52 no 6. The words most commonly used with Schubert's music are not the words that the composer originally set to music. Franz Schubert actually wrote the music for an excerpt from the poem 'The Lady of the Lake' by Sir Walter Scott (1771-1832) which was translated into German by Adam Storck. Schubert called his piece Ellens dritter Gesang (Ellen's third song). In this particular excerpt from the poem the heroine Ellen Douglas is in hiding and prays to theVirgin Mary. This version for string quartet makes a welcome addition its repertoire.

Music Minus One Viola-Schubert's seminal chamber composition the Piano Quintet in A major D667 commonly known as The Trout or Die Forelle is certainly one of the greatest pieces of music ever penned. Its rich textures and lovely melody create an unforgettable musical experience. Its celebration of nature's beauty stems from a summer trip in the Austrian Alps which inspired the young Schubert to rework a song into this complex chamber-piece. Composed of five alternating movements The Trout uses unique orchestration (substituting a double bass for the second violin) and gives special emphasis to the piano as well. But all the instruments take an equal role and this may also be a reason for thepiece's eternal popularity. The Trout instantly brings to mind the calm serenity of the summer mountain air and its sparkling melody and gentle poignancy leave a particularly happy feeling in both player and listener. It is a joy-filled piece but at the same time is filled with a serene quality that makes it one of the most exhilarating pieces for any musician to play and one of the most important compositions for any musician to learn. This Music Minus One edition gives you that opportunity in the comfort of your own home. Contains a high-quality printed solo part with informative liner notes and digitally remastered compact disc with accompaniments indexed for ease of practice. Accompaniment: Harriet Wingreen piano The Classic String Quartet

Par GERNOT WOLFGANG. Fg Vc / Date parution : 2005-01-01/ Répertoire / Musique de Chambre