Violin Quartets 2

for 2 Violins, Viola and Violoncello. Par SCHUMANN ROBERT. 'The next I'll do is 3 violin quartets' wrote Schumann to Clara Wieck in 1838, stating his reasons in a letter dated 17 March 1838: 'The thought of the quartets gives me pleasure. The piano is getting too narrow for me. In composing now I often hear a lot of things that I can barely suggest. For instance, it is remarkable how I invent almost everything canonically and never discover the imitating voices until afterward, very often in inversions, inverted rhythms.' The new urtext edition is based on the text of the Schumann Complete Edition./ Répertoire / Quatuor à Cordes

Score Parties. Par BEETHOVEN LUDWIG VAN. When Beethoven wrote these three quartets he was 15 years old and a composition student of Christian Gottlob Neefe in Bonn. They reveal a strong Mozartian influence while the brilliant piano writing already gives a sense of the mature Beethoven. He may conceivably have written the works for the wealthy Mastiaux family in Bonn, as he gave piano lessons to one of the daughters and the other three siblings played violin, viola and violoncello. The sole source for the quartets is the autograph score which contains many overwritings that shed light on the works' original conception and possible alternative readings. Although Beethoven never published the pieces in his lifetime and is not known to have performed them, he reused their melodic and thematic material in later compositions. Beethoven preserved the autograph score to the end of his days ? perhaps an indication that the quartets meant a great deal to him. The first edition was published by Artaria in Vienna one year after his death, albeit with the pieces in a different order and with many errors in the musical text. Bärenreiter's scholarly performing edition of the Piano Quartets WoO 36 is edited by the Italian pianist Leonardo Miucci, a specialist in the performance practice of keyboard music from this period. The edition not only presents the correct readings, it also sheds light on the young Beethoven's expressive notation and provides a plausible explanation for the distinction he made between dots and strokes to indicate staccato./ Répertoire / Quatuor pour Piano, Violon, Alto et Violoncelle

Music Medals Violin Ensemble Pieces are five volumes of enjoyable and accessible repertoire for the developing ensemble progressively graded Copper Bronze Silver Gold and Platinum. They contain original pieces and imaginative arrangements for duets trios and quartets.

After working for three years at the NationalConservatory in New York, Dvorak returnedhome in 1895 feeling extraordinarily happy. The fruit of this ecstatic periodare thecomposer's last two string quartets. The Quartet in G major, Op. 106, waswrittenimmediately after his return from America. The melodic freshness of the light,airythemes, alternating folk idioms in a temperate, unobtrusive musical allusion,betraysthe composer's maturity and mastery. The editor of this work, published as partof the first Complete Critical Edition of Works by Antonin Dvorak, is FrantisekBartos.

Henele Verlag Urtext Study score edition of Schubert's 'Trout Quintet' or Quintet In A Op. Post. 114 D667 for Violin Viola Cello Contrabass and Piano.

for Flute Oboe Violin Violoncello and Basso continuo-If Telemann was regarded by his contemporaries as one of the greatest of all composers his star faced with the overwhelming presence of Bach and Handel paled in the course of the 19th century to the verge of contempt. This assessment changed radically during the course of the last century. Through the systematic exploration of his music Telemann once considered purely an instrumental composer has emerged into a highly cultivated culturally well-connected and enormously versatile artistic personality who left an indelible mark on the musical life of his time. Again and again we discover an individual approach in his works that seems to abandon the musical conventionsof his day both large and small.The Tafelmusik (Musique de Table) is a collection of chamber pieces for various ensembles arranged into 3 parts and is perhaps Telemann's most celebrated collection of music. Composed in 1733 the Tafelmusik clearly demonstrates Telemann's skill in handling a diversity of musical genres and a variety of instruments.- Urtext of the Telemann Edition

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

Work for Oboe Violin Viola and Cello. Parts available: CH56341.This quartet was commissioned by the Institute of Contemporary Arts and written in the autumn of 1967. It is dedicated to Lady Norton and is the second of LennoxBerkeley’s three works written with the oboist the late Janet Craxton in mind the other two being his Sonatina OP 61 and Sinfonia Concertante OP 84.The work begins with a fairly extended introduction leading without a breakinto an Allegro. The whole composition is based on the internal of a third (sometime major sometimes minor) which is heard in the opening phrase of the introduction and again in the main theme of the Allegro though here in atotally different context. The allegro is in more or less traditional sonata form. The middle movement is a kind of Scherzo growing out of a rhythmical figure for the strings and a rapid arpeggio (major and minor chords) forthe oboe. This is a Presto; a more relaxed middle section corresponding to the Trio in a classical work is followed by a much shortened version of the Scherzo. The last movement is brief but very slow all four instrumentstaking up in turn a gently rocking figure that moves to and fro between two notes always a major or minor third apart. The music becomes more animated but returns to the opening figure and dies away each instrument droppingout one after the other leaving the cello alone in the last bar.