8 Enchanting Pieces from India arranged for String Quartet. Par SHARMA PYARELAL. For the first time The Schott String Quartet Series features a collection of pieces that have been originally composed in a style unique to string quartet arrangements. Internationally-acclaimed Bollywood composer Pyarelal Sharma has provided music and songs for over 450 films. This set of string quartets, composed especially for Schott, is influenced by Indian film music, Indian folk, Arabic and light Indian classical music, thus combining the alluring sound of the East with the stability of a classic Western ensemble. Another new feature that this volume has brought to the series is a special bonus CD containing performances of these charming pieces by leading members of the London Philharmonic Orchestra. The Schott String Quartet Series With the first books in the series focusing on baroque, classical and romantic styles, The Schott String Quartet Series has expanded to cover music ranging from traditional pieces through to Eastern-influenced works. Aside from 'Indian Summer', which features original compositions, each book contains original arrangements of well known themes, which have often never been arranged for string quartet before. An important characteristic of these arrangements is that they allow all four instruments to demand the attention throughout the music. The pieces are suitable for amateur musicians or school students and are ideal for public performance./ Recueil / Quatuor à Cordes

This celebratory 70th Anniversary instrumental edition of one of the most famous MGM movie musicals features an historical essay and colour and black and white movie photos.Included are classic titles Over the Rainbow We're Off to See the Wizard as well as the song deleted from the movie The Jitterbug and more all arranged and edited for the Level 2-3 instrumental player.Also included is a CD which features live demonstration performances of the instrument tracks.

The three-movement Quo vadis by Erik Bergman is a typical example of his recent coloristic-improvisatory style. It is a dialogue-like duo in which the instruments speak both in turn and together. Their voices grow in a wedge of volume — from silence to passionate outbursts and from the middle to the outer registers. Each rejoinder is usually dominated by a particular mode of playing and figure the most marked being the highly dissonant crashes on the piano and the cello tremoli. The themes of the second movement are based on a medieval Dies irae melody. But their melodic type oscillating backwards and forwards over a small interval is characteristic of Bergman andaccordingly makes its appearance in the other movements too.

for solo cello. Par LARCHER THOMAS. I do not compose my pieces for a certain voice range or orchestration, but for musicians, for people. It is almost impossible for me to produce a piece without having a particular person in mind or to hear him/her inwardly. No matter how standardized the interpretation of classical music is, and no matter how many coordinates have been fixed and defined, I do not want to have them seen (and therewith the notation) as determining and limiting signs, but rather as guideposts towards the creation of vital, organic music. In differentiated music, two participants are necessary in order for a piece to evolve-- the composer and the musician. Just as there is no one way for a composer to express himself or to notate music, etc., neither is there one way for a musician to read the notation, to interpret, or to live. We find ourselves, for this reason, in a network of meanings, gestures, and signs which have to be fathomed and expanded together. The tone, the breath, the gestures, the dedication, and the potentialities of a musician were also ultimately decisive for the form of this piece. It is music which pushes the expressive and technical possibilities of the instrument to its very limits. It is music in which the musician has to transport the contexts and expression over and above the notation. It was not necessary for me to find a new form for this piece; it is a work which can and should be performed in a ‘normal’ concert situation. I deliberately wanted to integrate the perhaps new and unusual content into a familiar form (thus the title ‘Sonata’) And I also wanted to embed the aforementioned extreme situations (in which the technical extremes are synonyms for tension, isolation, loss or tenderness) in an organic process in order for the listener to be able to empathize with and comprehend what is expressed in the piece. I would like to thank Natalie Clein, to whom the Sonata is dedicated, for inspiring this piece and for the path that led to the realization of the music. Thomas Larcher/ Répertoire / Violoncelle

All In One for 3 String Quartets was composed by Pelle Gudmundsen-Holmgreen in 2013 (String Quartet No.12 13 and 14 played simultaneously). Gudmundsen-Holmgreen has written a collection of three new string quartets: String Quartet no. 12 ‘Each in Each’; String Quartet no. 13 ‘Mutual Ordering’ and String Quartet no. 14 ‘Well-Tuned Sounds’. Each quartet can be played on its own; they can also played simultaneously in any combination. When all three quartets are played together as they are tonight the combined work is titled All in One. About this collection Gudmundsen-Holmgreenwrites: 'Some years ago Kronos and the vocal group Theatre of Voices performed three new pieces which I had written for the two groups: one for Theatre of Voices (Green) and two for Kronos (New Ground and No Ground). They were played and sung by each group independently – but also both groups together concurrently on top of each other as a final gesture. The combined pieces were called New Ground Green and No Ground Green. 'David liked the idea (and the result) of pairs of quartets that could be played both independently and simultaneously and asked me if the vocal quartet could be transformed into a string quartet. It could not. He then asked me to repeat the whole set-up with a new pair of quartets adding also some percussion instruments as was the case with Green for Theatre of Voices. Of course this was tempting. Furthermore David asked me to make one of the two new quartets a little easier to play. 'I began to work. The Kronos part of the pair of quartets turned out to be tough to play as David puts it. Unfortunately the ‘easier’ one was tough to play also! So I had to write one more which was then a little easier still (but still not easy). 'The three new works can be played separately and on top of each other in many different combinations resulting in different kinds of

Par SCHLEE THOMAS DANIEL. For composer Thomas Daniel Schlee, the 'intimate sound possibilities of the string quartet” have the potential 'to formulate an, albeit 'only' individual, solution to the somewhat forlorn condition of new art music within society that we are unfortunately experiencing today.” Schlee's Fourth String Quartet opens with a pure C major sound, out of which he develops a harmonically free band of voices: 'The pure as a source, not pleasing”! After a melodically dominating episode and a continuation of the 'swinging tone-motion from the beginning”, a thematically solidified section follows. It is met by a second, more extensive melodic episode, followed by a 'nightly scene”. Coming full circle, the opening music of the piece finds its continuation, leading into a lament – first articulated by the ensemble, then finally as 'the viola's long, forlorn search for the melody symbolizing a farewell.”/ Répertoire / Quatuor à Cordes

Commissioned by the Presteigne Festival of Music and the Arts Limited with funds provided by the Arts Council of Wales for premiere in August 2012 by the Carducci String Quartet in St. Andrew?s Church Presteigne.Composer's Note'Some years ago I noted down the opening theme of what I anticipated would be a relatively Classical string quartet ?Classical? in the sense of the forms adopted plus perhaps a predominantly lyrical tone of voice. The commission for this work from the Presteigne Festival for their 30th anniversary in 2012 gave me the opportunity of putting into practice this long-held idea. It isdedicated to the Festival and to the Carducci Quartet whose career as much-admired friends and colleagues I have greatly enjoyed.The only break with ?classical? tradition is that there are five movements instead of four with two Scherzi as the second and third though both these are very short and contrasting. I found myself listening to Haydn?s string quartets a lot before and during the composition of this work and I hope the spirit of his delight in writing for this medium is echoed in my own music. The opening movement is in sonata form unusually for me and lyricism is I hope the basis of it though there is a good deal of activity at times. The Scherzo light and marked by frequently-changing rhythms is followed by an equally short but ferocious Perpetuum mobile marked Wild und rasch (one of my favourite German tempo markings). The fourth movement is an intense Adagio in which a single phrase uttered strongly in unison is gradually transformed into gentle diatonic chords before the close intermingled with cadenzas for cello for viola and for the two violins together. The finale (a Rondo) resumes the classical tone of the first movement but apart from one dance-like episode it builds up a fair head of steam towards a final Presto which however ascends slows and quietens towards a gentle summer sky at dusk.'

Par PEPIN CAMILLE. Lorsque l'on m'a proposé de mettre en musique ce recueil de poèmes de James Joyce (1882-1941), j'ai été immédiatement séduite par l'idée. Il s'agissait de mettre en musique ces poèmes en respectant l'ordre original selon lequel ils ont été conçus par James Joyce lui-même lors de la première édition de 1905 [1]. Avec la précieuse aide de Philippe Blanchon [2], j'ai choisi de mettre en musique dix-huit poèmes, conservant ainsi les épisodes incontournables, la trame dramaturgique et l'essence de l'univers Joycien. Ce qui m'a attirée d'emblée, c'est qu'il s'agit d'une véritable histoire : de la naissance de l'amour à la passion déclinante, menant à une éventuelle et tendre amitié entre les deux amants. J'ai donc conçu Chamber Music d'un seul tenant. Au-delà des nombreuses références à la musique et aux sons de la nature - déjà 'musique' en eux-mêmes - l'oeuvre littéraire appelle à la mise en musique par sa forme. En effet, elle est déjà musicale dans sa construction. Les trois premiers poèmes constituent le prélude exprimant la solitude du poète. Nous assistons dans la première partie - crescendo - à la naissance de l'amour entre les deux amants, menant au poème central et point culminant de l'oeuvre : 'My Dove, my beautiful one'. La seconde partie - diminuendo - raconte la passion déclinante des amants qui nous conduit au finale, écho du premier poème et à la solitude du poète. Le prélude musical illustre le paysage - tant visuel que sonore - décrit par James Joyce : 'Strings in the earth and air make music sweet', 'There's music along the river', 'The sighs of harps', 'Soft sweet music in the air'. Inspirées de sonorités traditionnelles irlandaises, les mélodies de la première partie présentent un aspect populaire issu du folklore, comme une ode au monde de la danse - prégnant en Irlande. Ces mélodies modales et mélismatiques semblent improvisées, à la manière du chant gaélique irlandais. Elles se transforment au fur et à mesure en une véritable épopée romantique, expression de la relation passionnelle et charnelle des deux amants : 'Hurry over the dark lands and run upon the sea for seas and land shall not divide us my love and me', 'The odorous winds are weaving a music of sighs'. Ces mélodies extatiques, à la fois tendres et fragiles, tentent d'exprimer cette ivresse, cet état extatique - véritable état de 'transe' qui nous submerge lorsque l'amour envahit notre âme sans que l'on s'en aperçoive. La deuxième partie reprend ces divers éléments musicaux dans leur cheminement inverse. Passés par le filtre de la mélancolie de l'amour déclinant au fil du temps, ils témoignent de la perte de repères après la séparation avec l'être aimé : 'Lay aside sadness and sing how love that passes is enough', 'Love came to us in time gone by'. Enfin, le finale exprime le retour à la solitude du poète, comme une résonance du début de l'oeuvre : 'The voice of the winter is heard at the door', 'My kiss will give peace now and quiet to your heart'. Sans cesse en écho les unes des autres, les mélodies s'entremêlent dans un contrepoint lyrique et sensuel. En effet, le titre même du recueil m'a inspiré une oeuvre où chaque instrument serait d'égale importance. Le lyrisme de l'un ne peut exister sans l'autre. Ainsi, le rôle du quintette n'est pas seulement un accompagnement de la voix soliste. Leurs lignes d'amour se mêlent avec volupté les unes aux autres. Plonger dans l'univers Joycien a impliqué mon immersion totale dans l'oeuvre. Lire ses mots, penser ses images, imaginer ses sonorités, a été un travail passionnant et c'est avec nostalgie que je referme ce recueil aujourd'hui. J'espère cependant avoir su retranscrire son univers poétique au plus proche. Je profite de cette note pour remercier Philippe Blanchon pour son aide précieuse et Claire Bodin [3] pour sa confiance. C'est à la fois un grand honneur et un plaisir immense de rendre hommage à si grand artiste et de voir ce chef d'oeuvre littéraire naître une seconde fois en musique. / Contemporain / Répertoire / Sextuor

The image and concept of this piece is easiest to describe by using the visual images of the Dutch artist M. C. Escher. He made many woodcuts where the whole surface of the picture has a figurative function often just in black and white. For example a row of white ducks 'transversing' the painting which are described by black ducks transversing in the opposite direction. In this way the two figures describe each other so to speak.In this piece melody has been approached in a similar way: a melody is used which can be framed in rhythmically different groupings - in groups of fours or fives etc- thus creating new hierarchical melodies which grow more and moreobvious to the ear. The initial melody then becomes background to the new melody until disappearing and a new rhythmical pattern is imposed on the second melody and so forth. Later the different 'rhythm melodies' are woven together creating a new perceptual image one that is at the same time actually a 'holographic' reproduction of the initial melody. The latter situation is similar to the way Bach makes hidden 3- or 4-part counterpoints in his Cello suites by intersecting the parts successively into beautifully interwoven patterns.The very static sections of the piece are chiefly inspired by the powerful singing of the buddhist-monks of Tibet who are able to relax their vocal chords to such an extent that they create an overpowering deep note not normally thought to be produced by a human voice. Figure and Ground Study I was first performed by Mats Olofson at the Numus Festival 1995.

Brass Quartet-Org-Vces-Vocal Score Mfb604V. Par PACHELBEL JOHANN / KING. Transcribed by popular brass arranger, Robert King, this edition of Johann Pachelbel 's Nun danket alle Gott provides an exciting performance piece for Choir, Organ and a large Brass Ensemble. Pachelbel (1653-1906) is, of course best remembered today for his Canon in D. However, his vocal music is also significant. Nun danket alle Gott is a motet based on a short passage from Ecclesiastes. An important feature of the work is that the endings of sections are in four-part chorale settings, with the sopranos singing long notes values whilst the other voices present shorter note values. King 's arrangement of this historical work makes for an exciting performance./ Répertoire / Quatuor de Cuivres, Orgue et Voix

13 Pieces arraged for 2 Cellos and Piano-** PROMOTIONAL LAUNCH PRICE FOR 2014 **13 pieces arranged for 2 cellos and piano by Julian Lloyd Webber. Good original music for two cellos is quite rare to find and over the years arrangements have greatly enriched the classical repertoire. In these pieces internationally celebrated cellist Julian Lloyd Webber has taken music from Purcell to Rachmaninov-much of it originally written for two voices-and adapted it to the medium of two cellos and accompanying piano. These unique arrangements which he performs with his wife Jiaxin Lloyd Webber on a Naxos CD (see back cover for details) and on tour allows their cello voices to blend together as they exploremusic of lyricism quiet melancholy and tuneful energy.

Pelle Gudmundsen-Holmgreen's  String Quartet No. 10 'New Ground' (2011). Set of parts: WH31462A Programme note: New Ground – No Ground – Green In 1986 I wrote Ground for the Kronos Quartet. I used the principle of the baroque ground and created a series of chords – going up and going down symmetrically. The material formed the basis for the quartet. In my next collaboration with Kronos I wrote the darker Last Ground – at the time supposed to be my last composition of the kind. After some years this seemed a bit pathetic and Idecided to write a new – lighter ground – New Ground. To disappoint my listeners as much as possible I based this piece on a very old and very well-known ground: Pachelbel’s Canon.  The piece is tonal and that suggested another –atonal – composition – No Ground (based on another string quartet – no. 7 Parted from 1984 first performed by Kronos). I am very fond of the elaborated constructivism of the medieval or early renaissance music so in my view the two new quartets needed to be connected and combined. The two quartets can be performed in combination with the four-part vocal piece Green. The text is from medieval England. The pieces are written for the Kronos Quartet and Theatre of Voices.

This collection contains twenty-four pieces from 18th and 19th century Scotland. Included are airs and dance tunes originally for voice or fiddle. These duet arrangements are perfect for student and teacher as well as cellocolleagues. The music is presented in sets of two or three tunes ready for performance. The traditional music of Scotland has unique and beautiful qualities and is fun to play.

Par PART ARVO. 'I have developed a highly formalised compositional system, which I have been using to write my music for twenty years. Summa is the most strict and enigmatic work in this series'', said Arvo Pärt in 1994. The neutral title itself embodies the essence of the content as the work is based on the text of the Latin Credo. The great simplicity of the piece masks its complexity. The underlying rules ensure that on the surface a cycle of continuous change is created while the deep structure possesses an order of stillness. (Saale Kareda) Originally written for four a cappella voices in 1977, the string quartet version dates from 1991. This edition adds a further version for 8 (4) Cellos./ Répertoire / 8 [4] Violoncelles

A fabulous work of chamber music by Swiss composer Ernest Bloch completed in 1924. At its heart Bloch's Jewish music is emotional expressionist and despite a slow sombre mood is coloured by an exotic ambience which reflects his increasingly Jewish voice. For Cello with Piano accompaniment Prayer has an atmosphere of intense sadness and inward feeling and the three pieces here are far less linked with virtuosity than with the power of expression and faith.