Søren Nils Eichberg's Piano Quartet 'Natsukusa-Ya' (2005) - for Violin Viola Cello and Piano. Commissioned by the Berbersee Festival.In memory of the Victims in Hiroshima 6 August 1945. The piece was inspired by a Haiku by Japanese poet Matsuo Basho (1644-1694): Summer grass alone Remains as faded trace of Ancient warrior’s dreams Parts are available: WH31307A  

Par LEIVISKA HELVI. Finnish composer Helvi Leiviskä (1902-1982) created a broad-based output of orchestral works, solo songs and chamber music. Her style could be described as moderate modernism, deriving influences from multiple sources such as late Romanticism, Symbolism, Expressionism, Existentialism and Neo-Classicism. Leiviskä's output is characterised by philosophical and religious themes, images of nature and narrative structures. Many of her works focus on human existential angst and spiritual searching and growth. Helvi Leiviskä originally completed her Piano Quartet in A major op. 1 in 1926 but revised it a decade later, in 1935. Written for the traditional piano quartet lineup (violin, viola, cello and piano), the work is in three movements and has a duration of about 25 minutes. It features religious and ecstatic imagery such as may be found in French, German or Russian neo-Romantic styles. Leiviskä's Piano Quartet is considered one of the cornerstones of her chamber music output. Its early version was premiered in two parts at student recitals of the Helsinki Music Institute (the 1st movement in 1925 and the 2nd and 3rd movements in 1926). The revised version was performed in full by Timo Mikkilä (piano), Sulo Aro (violin), Ilmo Ranta (viola) and Pentti Rautawaara (cello) on Finnish radio in 1939. The work was also on the programme of Leiviskä's second composition concert in 1945, being performed on that occasion by Jussi Jalas (piano), Erik Cronvall (violin), Erik Karma (viola) and Yrjö Selin (cello). Two commercial recordings have been released (Finlandia Classics 2012 and Telos Music 2016). It is published for the first time 2022 with an extensive foreword by Susanna Välimäki. The product includes the full score (piano part) and a set of string parts. Duration: c. 25'. Have a look inside by clicking 'sample'. / Date parution : 2022-05-31/ Répertoire / Quatuor avec Piano

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

Josef Suk’s Piano Quartet (1874 1935) quickly became a standard work not least as a result of the extensive concerts given by the Bohemian Quartet in which Suk was second violinist. This is however the first scholarly-critical edition of this work. It is based largely on a revision of the first edition which contains Suk’s alterations of 1914 and appeared in 1924 on the first copy as well as on newly discovered copies of the parts. Valuable information has also been extracted from printed parts of which the original copies are now no longer extant.