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.

Cantilena was commissioned by the London Chamber Music Society to celebrate their move to King's Place in October 2008. First performed by Nicholas Daniel and members of the Chilingirian Quartet at King’s Place London on 5th October 2008. The work is a short lyrical piece where an outsider [the oboe] joins the group [a string trio] and adds to their dialogue. At first the newcomer is treated with a mixture of suspicion and agitation but eventually is made welcome. The oboe is invited to share the musical theme that has been established which he then proceeds to embellish and adorn. He leads the harmonic changes that result in the theme being heard in manydifferent keys. He then introduces a new theme. The excitement grows and leads to a climax. A peaceful coda re-establishes the original theme and all ends harmoniously among the integrated quartet.

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

Olli Mustonen, le pianiste finlandaise, compositeur et chef d'orchestre, est à l'aise sur les scènes de concert tout le monde. Récemment, il a surtout composé des oeuvres de musique de chambre. Son Quatuor avec des passacaille Quasi una 'les intitulés de mouvement allusives et' doit être 'offre un large spectre sonore en évolution en raison des combinaisons possibles d'instruments.Selon le modèle traditionnel, calme et passages émotionnels alternent avec des passages extrêmement vives et virtuose. La pièce nécessite des compétences techniques élevées, a un effet immédiat accrocheur et est adapté pour tout programme de ce concert. / Hautbois, Violon, Alto Et Piano / 72 pages / niveau : Avancé / Partition

/ Flûte A Bec Alto (Flûte Traversière, Hautbois Et Violon) Et Basse Continue / Partition

In his Financial Times review Max Loppert says '. . .the title aptly reflects both the songful character of the musical invention and the relationship of wind solo to string trio. . .a composition of great charm and precise character; its other virtues of well-found proportions distinctive harmonic movement and secure control of incident must not be allowed to sound negative ones.' 9th March 1981