/ Quatuor A Cordes
SKU: HL.14022547
ISBN 9780853607595.
This quartet lasts about nine minutes. Composed in April 1996, it is dedicated to the memory of Nicola's father William LeFanu (1904-1995) and Elizabeth Maconchy (1907-1994). The quartet was commissioned for the 1997 London International String Quartet Competition.
SKU: HL.14000917
ISBN 9788759877418. 9.75x14.25x0.214 inches.
Score available: WH49754.
SKU: HL.50600644
ISBN 9781495071041. UPC: 888680633219. 9x12 inches.
String Quartet No. 2, (Musée Mécanique), was commissioned by the Ciompi Quartet for their series at Duke University, with funds from Meet the Composer. The first performances were given on April 25 and 26, 2002. The Ciompi also helped in the preparation of this edition and have recorded both String Quartet No. 1 and String Quartet No. 2 for Albany Records (Troy 717). The second string quartet is dedicated, with enormous admiration and gratitude, to my friends Eric Pritchard, Hsiao-Mei Ku, Jonathan Bagg, and Fred Raimi of the Ciompi Quartet.
SKU: HL.14031816
8.5x11.75x0.3 inches.
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 also expressed 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.
