Bien des compositeurs ont été inspirés par la nuit. Raphaël Fumet tout particulièrement puisque une autre oeuvre, celle là écrite pour orchestre à cordes, porte le même intitulé. Le goût particulier qu'avait l'auteur pour la contemplation nocturne de l'espace étoilé a aussi engendré cette pièce pour quatuor à cordes ou orgue.Son caractère suave, loin de nous entraîner dans un vertige spatial, semble au contraire nous convier à partager une sorte d'irradiation intimiste de l'Amour à travers l'immensité de l'infini. / Quatuor A Cordes (2 Violons, Alto Et Violoncelle)

Par BRITTEN BENJAMIN. Set of parts for Phantasy in F Minor for string quintet (two violins, two violas and cello) and lasting 11 minutes. Phantasy in F Minor won the Cobbett Prize for chamber music at the Royal College of Music in May 1932 and was also submitted in support of Britten's application for the Mendelssohn Scholarship at the College. / Ensemble Music / Répertoire / Violon, Alto et Violoncelle

For Violin Viola and Piano (Reduced from the orchestra version). Britten was so remarkably prolific as a young composer that many of the works from his teens were put aside to await revision or completion as he rushed on tothe next piece. This was particularly the case around the time of his Opus 1 Sinfonietta composed in the summer of 1932 his second year as a student at the Royal College Of Music.The Sinfonietta waswritten (in less than three weeks) very soon after Britten had completed the first draft of the Double Concerto; but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started workon his Op.2 Phantasy for Oboe and String Trio a few weeks later.Although the Concerto follows the same three-movement pattern as the Sinfonietta it is more ambitious in scale; and since the sketchis unusually for Britten complete in practically every detail it is puzzling that he never made a full score of the work after finishing the composition and seems to have made no attempt to get it performed. It is not clear ifhe had particular performers in mind (he was of course a Viola player although he is not likely to have intended the part for himself). He showed the work to his composition teacher at the college John Ireland who as Brittenrecorded in his diary was 'pretty pleased' with it; but it is distinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932 ('I have never heard such an appalling row!' readsanother diary entry) discouraged him from going on to complete the Double Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936.In theabsence of Britten's full score it was necessary for me to prepare the work from the sketch. But the instrumentation is so carefully indicated in the draft that the resulting score is not far from being 100% Britten - only between

Dans le volume des quatuors facile, en plus de mouvements indépendants un certain nombre de travaux peut être trouvé qui peut être effectuée en même temps aux suites de la forme. Ainsi, de petits mouvements qui peuvent également être utilisés séparément cycles peuvent être formés qui peuvent animer un petit concert domestique, une manifestation de l'instrument ou le programme d'un spectacle pour une occasion festive. outre des séquences de danses Renaissance, arrangements de chorals de Bach, des oeuvres chorales et danses classiques, le contenu varié comprend aussi des mouvements romantiques appropriés pour agréable musique de décision nationale. volumes de cette nouvelle série contient des duos, trios et quatuors, de leur degré de difficulté allant de facile à travers intermédiaire à avancé. Chaque pièce est une transcription ou un arrangement, puisque dans l'édition des volumes notre principale préoccupation était d'offrir une collection de compositions intéressantes et utiles, comme librement variables que possible en ce qui concerne l'instrumentation, pour les élèves des écoles de musique et aussi pour les adultes qui font de la musique pour leur propre plaisir. L'étendue et la hauteur des pièces permettent les travaux devant être réalisés sur n'importe quelle combinaison des instruments donnés nécessaire ou possible. / Ensemble Mixte

E flat major-There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ?Symphonie concertante? his special attention. On April 5 1778 he wrote to his father: ?Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon?.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned ?sinfonie concertante? in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart?s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score

for two Violins and Viola-Dvo ák composed his Terzetto op. 74 in 1887 as the result of a spontaneous desire to write some domestic music. Inspired by neighbourhood violin lessons he wrote these four little movements for two violins with violaaccompaniment in the space of just a few days. This Terzetto is thus not technically difficult to play though with its flowing melodies and spirited rhythms it still offers the best of Dvo ák. It is not surprising that hispublisher Fritz Simrock immediately snatched them up when Dvo ák told him in 1887 that he was working on ?little bagatelles?. The autograph of the score that contained many corrections nevertheless makes evident just how much hardwork went into these ?little bagatelles?. It also served as the engraver?s copy for the first edition. Both these sources were consulted for this Urtext edition that offers today?s players an authentic text of this musical jewel.