Partitura. Par BEETHOVEN LUDWIG VAN. / Date parution : 1905-06-06/ Répertoire / Quatuor à Cordes

Opp. 127 130-133 135-Beethoven's late String Quartets are universally regarded as supreme transcendent works - among the greatest and most intimate music in chamber literature. Composed in the last years of the master's life - between 1823 and 1827 - these quartets contain astonishing experiments in thematic development and musical form that laid the foundation for innovations in 20th Century string quartet writing especially in the important works of Bartok and Shostakovich.This volume reprinted from the definitive Breitkopf and Hartel edition includes:String Quartet No.12 In E Flat Op.127String Quartet No.13 In B Flat Op.130String Quartet No.14 In C Sharp MinorOp.131String Quartet No.15 In A Minor Op.132String Quartet No.16 In F Op.135 and theGrosse Fuge In B Flat Op.133This convenient affordable volume is the ideal edition for study in the classroom at home or in the concert hall.

The 1st & 3rd Position String Quartet series offers excellent training material for String Quartet using only 1st & 3rd positions throughout.This volume features three works from the classical era skillfully arranged for String Quartet - Beethoven's Minuet in G (from Six Minuets) Mozart's Sleigh Ride (German Dance No.3) and Pleyel's Sonatina No.3 (from Opus 48).

The string quartet is generally considered as the chamber-music genre of the classical era: invented by Haydn elaborated by Haydn and Mozart and brought to its compositional peak by Beethoven. All later quartet composers had to measure themselves against the works of these three masters. This applies first and foremost toMendelssohn who has always been called a “classical romantic.” His Quartet in a minor op. 13 in particular is said to have strong Beethovenian stylistic traits. It was composed in late summer and fall 1827 shortly after Beethoven’s late quartets appeared in print works that Mendelssohn was no doubt familiar with. The Quartet in E flat major op. 12 was written two years later during Mendelssohn’s first tour of England.A textually identical score of the two quartets is published in Henle’s Study Scores series (HN 9270).

Par WAKSMAN FABIEN. Que peut signifier la perte de l'audition pour un compositeur ? C'est la question à laquelle j'ai tenté de répondre en composant ce sextuor, écrit en hommage à Beethoven. C'est l'image d'un Beethoven prisonnier de son propre corps qui a été le point de départ de cette pièce. Une prison aux proportions dantesques, à la fois immense et oppressante. Ce monde intérieur, que j'imagine être l'esprit d'un Beethoven sans contact auditif avec l'extérieur, m'a rappelé les gravures de Piranèse. Carcere Oscura, réalisé en 1743, constitue un prélude au cycle des Carceri d'Invenzione, le chef d'œuvre de l'artiste. Cet univers carcéral possède par son caractère monumental un aspect fantastique. Il n'en reste pas moins à jamais clos, inhumain, et par conséquent terriblement effrayant. Pour reprendre les mots de Marguerite Yourcenar, les Carceri évoquent un 'monde factice, et pourtant sinistrement réel, claustrophobique, et pourtant mégalomane (qui) n'est pas sans nous rappeler celui où ! 'humanité moderne s'enferme chaque jour davantage'. Le célèbre motif initial de la Cinquième Symphonie de Beethoven parcourt l'ensemble de la pièce. Son traitement est le plus souvent frénétique, comme s'il semblait courir désespérément dans un labyrinthe en perpétuelle évolution à la recherche d'une sortie, d'un réconfort, d'une lueur. Le décor a beau changer considérablement, le sentiment d'urgence quitte rarement un discours dans lequel l'accordéon parvient peu à peu à prendre son indépendance par rapport à un ensemble à cordes très dense et compact. Après l'apparition d'une nouvelle cellule issue du second thème de la Cinquième Symphonie, le calme apparaît progressivement, toute trace de paniques' efface, la musique se fait plus flottante et méditative : il est temps pour Beethoven d'entrer en lui-même, de chercher d'autres chemins pour trouver la force de surmonter l'épreuve de sa surdité. Subitement, la pulsation frénétique redevient omniprésente, comme si Beethoven avait pris conscience de sa capacité à se transcender et avait hâte de se remettre au travail. La rage n'est plus ici synonym e de désespoir, mais d'impatience. L'accordéon, porté par des cordes obsessionnelles martelant le motif de la Cinquième Symphonie, semble filer vers la sortie du labyrinthe, tel Beethoven vers ses futurs chefs-d'œuvre. Le compositeur a triomphé de sa prison et restera à jamais pour nous un exemple de la capacité humaine à se dépasser au cours des épreuves de la Vie. / Date parution : 2022-11-08/ Répertoire / Accordéon et Quatuor à Cordes

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

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.

Werke von Beethoven, Händel, Lully, Pergolesi. No. 4 : Des Pièces De Beethoven, Händel, Lully, Pergolesi / Niveau : Débutant / Répertoire / Alto (Partie séparée)

Streichquartett C-dur Opus 61. Composed in autumn of 1881, Opus 61 is the last of Dvorák?s ?middle? quartets by chronology for which Beethoven and Schubert served as the most significant models. Beethoven?s influence, from thematic development to motivic treatment, is particularly noticeable in this work in C major. It is only in the finale that the typical Slavic tonal quality usually found in Dvorák?s music surfaces somewhat more prominently. Due to a lack of time, the composer - contrary to his usual practice - turned to older, either discarded or hitherto unpublished themes from other works for three of the four movements. This reliable Urtext edition continues the comprehensive Henle series of significant works of chamber music by Dvorák.

Streichquartett C-Dur Opus 61. Composed in autumn of 1881, Opus 61 is the last of Dvorák?s ?middle? quartets by chronology for which Beethoven and Schubert served as the most significant models. Beethoven?s influence, from thematic development to motivic treatment, is particularly noticeable in this work in C major. It is only in the finale that the typical Slavic tonal quality usually found in Dvorák?s music surfaces somewhat more prominently. Due to a lack of time, the composer - contrary to his usual practice - turned to older, either discarded or hitherto unpublished themes from other works for three of the four movements. This reliable Urtext edition continues the comprehensive Henle series of significant works of chamber music by Dvorák.

In his Kongsgaard Variations (2006) Swedish composer Anders Hillborg takes the Arietta-theme from Beethoven’s last piano-sonata No. 32 in C minor Op. 111 as the basis for an evocative 16-minute string quartet. Beethoven’s sublime music drifts strangely through the centuries and is warped vaporised and refashioned as if in the words of Hillborg the Arietta ‘is dreaming yet another variation on itself’.

This String Quartet has some technical difficulties particularly for the first violinist but the musical result is worth the effort and players familiar with Beethoven's quartets will enjoy playing it. It is one of three Hummel opus 30 quartets published by SJ Music. All three are classical in style and pleasurable to listen to and play and many would say that they have been unjustly neglected. Johann Nepomuk Hummel was a Hungarian pianist conductor and composer born in Pozsony (now Bratislava) in 1778. He died in Weimar in 1837. Mozart heard him play aged seven in Vienna and was so impressed that he offered him lessons and took him to live with him for the next two years.As an adult in Vienna he became good friends with Beethoven.

Edited by Joseph Boetje this collection includes works by Beethoven Mozart and Schubert with Piano accompaniment with separate viola part.