Arrangeur: Jonathan Leshnoff. Par LESHNOFF JONATHAN. Having written four String Quartets in less than a decade, Leshnoff struck a lighter note with his fifth, titled Four Dances. The four dance movements are I Waltz, II Pavane, III Chas Tanz, IV Furlana. Written in 2014, Four Dances was premiered by Carpe Diem String Quartet the following year, and has just been recorded by the same on an album featuring Leshnoff's 3rd and 4th String Quartets, as well. Four Dances is also arranged for saxophone quartet (494-03141) and Baltimore Chamber Orchestra recently premiered a chamber orchestra arrangement, available on a rental basis. An arrangement for full orchestra is also available on rental.Having written four String Quartets in less than a decade, Leshnoff struck a lighter note with his fifth, titled Four Dances. The four dance movements are I Waltz, II Pavane, III Chas Tanz, IV Furlana. Written in 2014, Four Dances was premiered by Carpe Diem String Quartet the following year, and has just been recorded by the same on an album featuring Leshnoff's 3rd and 4th String Quartets, as well. Four Dances is also arranged for saxophone quartet (494-03141) and Baltimore Chamber Orchestra recently premiered a chamber orchestra arrangement, available on a rental basis. An arrangement for full orchestra is also available on rental./ Répertoire / 2 Violons, Alto et Violoncelle

Born in South Africa, but now an Irish citizen, Kevin Volans' musical idiom has been shaped by an unusually diverse range of experiences, including studies with Stockhausen in Cologne, field trips to South Africa to study traditional music, his own involvement with the New Simplicity movement, his collection of contemporary art and African textiles, friendships with composers like Morton Feldman and Gerald Barry, as well as a love of virtuoso piano music which he performs, broadcasts and records. While having an easily recognised, unique voice, Volans' music resists compartmentalisation. He is as comfortable working in conventional genres as embarking on innovative collaborations with artists of other disciplines.String Quartet #1 (White Man Sleeps) was written for the Kronos Quartet and was first performed by them in July 1986, London.The title 'White Man Sleeps' comes from a moment in nyanga Panpipe music where the performers leave off playing their loud pipes for a few cycles and dance only to the sound of their ankle rattles, to let the white landowner sleep - for a minute or two.'In composing this piece I drew from the following sources: the first movement owes something to the style of Basotho concertina music - the second and fourth movements are drawn from traditional Nyungwe music played by Makina Chirenje and his Nyanga panpipe group at Nsava, Tete, Mozambique, recorded and transcribed by Andrew Tracey (to be found in an article entitled 'The nyanga Panpipe dance' in African Music, Vol.5, #1 (1971) - the third movement derives from the San bow music (recorded by Tony Traill of the University of Witwatersrand) and from Basotho lesiba music, transcribed by myself - in the fifth movement I added my own invented folklore. My approach to the original music was anything but purist - it is played in Western tuning, filtered, slowed down by a few 'time-octaves?, cast into non-African metres (like the 13-beat pattern of the first dance) and redistributed between the players in several ways. I also used interlocking techniques where they were absent in the original models and vice versa' - Kevin VolansDuration 24 minutes. Parts available: CH61205. / Quatuor A Cordes (Conducteur)

Par VINE CARL. The popular seasonal music of the English Georgian parish church - often called gallery music - yielded a wonderfully rich harvest of hymns, carols and anthems. Drawn from a repertoire only recently rediscovered and recorded on the Hyperion label by the choir Psalmody and The Parley Instruments, these new editions offer a sparkling array of fresh, alternative Easter and passiontide music./ Répertoire / Quatuor à Cordes

Par BEETHOVEN LUDWIG VAN. Some of Beethoven ’s most enduring and unabashedly successful works stem from his so-called “Middle Period” and in the genre of chamber music, the quartets Op. 74 and 95 together with the recently issued Op. 59 quartets complete this period. Jonathan Del Mar’s scholarly critical edition of quartets Op. 74 and 95 sets the record straight once and for all, restoring Beethoven ’s articulation, dynamics and lengths of slurs as the composer originally intended. The interdependency of the sources and their readings are clearly laid out by Del Mar in his Critical Commentary, which also contains facsimile pages pointing out ambiguities with previouseditions. - Bärenreiter quality Urtext. - Critical Commentary (Eng) with facsimiles. - Study score includes historical introduction (Ger/Eng) by Barry Cooper. - Parts BA9018./ Répertoire / Quatuor à Cordes

Chaconne. Par LERDAHL FRED. Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music. My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach’s D minor violin partita and the finale of Brahms’s Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern. My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl/ Répertoire / Quatuor à Cordes

Par LIEBMAN DAVID. Atonement commemorates the holiest day of the year in the Jewish faith, called Yom Kippur. On that day an individual repents for transgressions which may have occurred during the past year. Fasting and prayer are the activities which begin at sundown with the chanting of Kol Nidre and end twenty four hours later. I wrote the melodies for this piece on Yom Kippur, 1979. Part of the piece quotes the beginning strains of Hatikvah, the Israeli national anthem. It is adaptable to any solo instrument. Solo parts are included for C concert, Bb, Eb and bass clef instruments. Recorded on 'Classique”./ Répertoire / Quatuor à Cordes et Instrument Solo

This three-minute piece for string quartet unites the typical features of Elena Kats-Chernin's compositions: blues harmony, a motor-like rhythm driven by syncopes, bittersweet melodies and austere-poetic sonority. Silver Eucalypt was written in 2006 and recorded in 2012 by the Acacia Quartet on their CD 'Blue Silence' released by Vexations840. Now there is finally a printed edition which may be a charming addition to the repertoire of professional and amateur musicians alike. / Quatuor A Cordes