Third String Quartet, Op. 30

This String Quintet (with two Violas or three Violins) was composed in 1799. It is tuneful and straightforward and suitable for players who are not yet at the standard required to play the Mozart Dvorak or Brahms quintets with two Violas. This edition has the advantage of having a third Violin part included if two Viola players are not available. Johann Michael Haydn was the younger brother of his much more famous older brother Franz Joseph commonly regarded as the 'father' of the classical String Quartet format.

Bearbeitung für Streichquartett-This piece reflects Janácek?s memories of childhood and youth in his native Hukvaldy and the Augustinian Abbey in Brno. Kry?tof Maratka a Czech composer resident in France and a great admirer of Janácek has arranged the original version to produce a welcome addition to the string quartet repertoire.Youth for wind sextet is a masterpiece from Janácek?s late period (1924). Maratka has successfully managed to transform the concise winds? sound that give this work its unique flavour into the timbre of the strings thereby creating a ?third string quartet? of the composer.- Janácek?s wind sextet arranged for string quartet- Welcome addition to thestring quartet repertoire- Foreword by the arranger (Cz/Eng/Ger)- Set of parts (BA11543) and study score format 22.5 x 16.5cm (TP521) available for sale

Music Of Our Time. Par BRYARS GAVIN. “Apart from the ten 5-minute string quartets that I wrote in 1992 as the original version of A Man in a Room, Gambling, there are 8 years between my second and third quartets. Another element which finds its way into the quartet comes from my work with groups from the world of early music, particularly from the experience of writing for a consort of viols …. In several places I ask for little or no vibrato from the strings, occasionally preferring open strings and natural harmonics to stopped notes.”/ Répertoire / Quatuor à Cordes

String quartet with optional 3rd violin part-This series for strings enables you to play both familiar and less familiar music with friends. Each volume contains four pieces beautifully arranged for musicians of a moderate standard. All pieces have an optional third violin part so the lack of viola player doesn't have to be a problem! Now you can start making music and exploring the greatest form of chamber music the string quartet.

Herbert Howells wrote this Serenade in 1917 as the third and final movement of his Suite for Strings Op. 16 (Op 27 on the manuscript) the first two movements of which were re-used by the composer for his Concerto for String Orchestra (213) and Elegy (63) respectively. The Serenade remained unpublished until the present edition of 2011. It was first performed on 13th July 1917 at the Royal College of Music London by the RCM Orchestra conducted by Sir Charles Stanford

The composer made this arrangement of the Third String Quartet for string orchestra in March 2003. The first performance was given by the Eos Orchestra New York conducted by Ken Selden in the Concert Hall Ethical CulturalSociety New York City on 24 April 2003.Quoting composer: In the summer of 1989 I composed a choral work Out of the Ruins for Agnieszka Piotrowska’s BBC2 documentary which dealt with the physical and emotional responsesof some of the inhabitants of Leninakhan to the earthquake which devastated Armenia the previous December. When he heard the recording of the work that I made with the Holy Echmiadzin Chorus under the fervent conducting of KhorenMeykhanejian Alex Balanescu suggested turning Out of the Ruins into a string quartet. There seemed no reason or opportunity to do this until I felt the need to add to the intensity of my experiences in Armenia the no lessprofound experience of witnessing the images of the Romanian revolution on television during the latter part of December 1989.Just as the structure of my Third String Quartet (1990) may connect it with the First so they alsoshare a debt to Thurston Dart (my professor at King’s College London between 1961 and 1965). It was Dart who had the inspiration to send me to Romania in 1965 ostensibly to study folk music. The volumes of transcriptions that Ibrought back with me had remained unopened until with this proposed ‘celebratory’ string quartet (though at the time it was difficult to know quite what to celebrate in postrevolutionary Romania) an occasion arose where I coulduse this material in what seemed to me was a non-exploitative manner. The compositional procedure was as follows: to take Out of the Ruins as a template on which the Romanian vocal or instrumental music would besuperimposed quite often stretched into new intervallic shapes through the demands of the completely pre-formed harmonic structure.