8 Twentieth-Century Pieces. Having touched on the romantic era in 'To a Wild Rose' and the classical era in 'An die Musik', Kember moves forward to the twentieth-century with this thoughtfully chosen collection for string quartet. The Schott String Quartet Series With the first books in the series focusing on baroque, classical and romantic styles, The Schott String Quartet Series has expanded to cover music ranging from traditional pieces through to Eastern-influenced works. Aside from 'Indian Summer', which features original compositions, each book contains original arrangements of well known themes, which have often never been arranged for string quartet before. An important characteristic of these arrangements is that they allow all four instruments to demand the attention throughout the music. The pieces are suitable for amateur musicians or school students and are ideal for public performance./ Recueil / Quatuor à Cordes

8 Twentieth-Century Pieces. Having touched on the romantic era in 'To a Wild Rose' and the classical era in 'An die Musik', Kember moves forward to the twentieth-century with this thoughtfully chosen collection for string quartet. The Schott String Quartet Series With the first books in the series focusing on baroque, classical and romantic styles, The Schott String Quartet Series has expanded to cover music ranging from traditional pieces through to Eastern-influenced works. Aside from 'Indian Summer', which features original compositions, each book contains original arrangements of well known themes, which have often never been arranged for string quartet before. An important characteristic of these arrangements is that they allow all four instruments to demand the attention throughout the music. The pieces are suitable for amateur musicians or school students and are ideal for public performance./ Recueil / Quatuor à Cordes

Madrigals are vocal compositions and can be traced back to 13th Century Italy. During the latter part of the 16th Century Nicholas Yonge of St. Paul's Cathedral in London published a collection of Italian Madrigals and translated the words into English. Thomas Morley organist of St. Pauls and around the same time as nicholas Yonge wrote many of the finest madrigals of this the greatest madrigal period. It was a very rich period of English musical compoosition made so by such illustrious names as Byrd Gibbons Tallis and Weelkes. Madrigal societies are still active and date from 1741 when the first was formed in the City of London. America also has participated in therevival of singing madrigals and has activated madrigal singing in universities and high schools.

Dedicated to Thurston Dart Michael Nyman?s professor at King?s College London much of String Quartet No. 1 borrows and is inspired by the works of seventeenth century composer John Bull whosecomplete keyboard works Dart gave Nyman as a birthday present. The other main source of inspiration was Schöneberg?s Second String Quartet from the early 20th century.In his introduction to the piece Nymandescribes his two background ideas when composing the work: first to make an almost ?orchestral? chamber music and second to exorcise the impressive and oppressive history of the String quartet by making his work a compendium ofquotations from the quartet repertoire. Commissioned by the Arditti Quartet and first performed by them in 1985 String Quartet No. 1 has a duration of 25:44 minutes.Michael Nyman is an Englishcomposer of minimalist music pianist librettist and musicologist known for numerous film and his multi-platinum soundtrack album to ?The Piano?. He has additionally written a number of operas six concerti four stringquartets and many other chamber works.

Quoting Saxton: My Fantazia for String Quartet was complete in December 1993 in response to a commission from the London International String Quartet Competition for a test piece for the 1994 competition. Funds were provided bythe John S Cohen Foundation.The title gives the clue to the nature of the music: the viol fantasia was the chosen form of composition for the greatest English composers of the mid-seventeenth century Lawes Jenkins Ferraboscoin particular. They inherited the techniques of vocal polyphony from Byrd and Gibbons and forged a new instrumental polyphonic style. The culmination of this genre was reached in the magnificent works of Henry Purcell around1680 and it was Purcell who adopted the spelling ‘Fantazia’.I have always loved this music and when asked to write a short piece for strings I decided to pay tribute to this under-rated tradition. Most fantazias consistedof short joined sections and I have expanded this to create and eight-minute piece in three larger sections the essence being contrapuntal interplay and equality of part-writing. (Any idea of stylistic reference would be absurdion the late twentieth century). The first section is a lyrical allegro moderato which leads into a sustained and intense slow movement; this in turn gives way to a final quick section of a dancing character a featurefrequently encountered in Purcell’s own consort pieces.

Par SIMPSON ROBERT. '. . .the quartet is a highly distinctive work, a welcome addition to Simpson's significant contribution to the British twentieth-century string quartet.'Trevor Bray, Music and Letters Vol. 68, 3 April 1989/ Répertoire / Quatuor à Cordes

Par MILHAUD DARIUS. French composer and teacher, Darius Milhaud (1892-1974) was a prolific composer of the 20th century as a member of 'Les Six'. His compositions remain highly regarded, Jacob's Dreams being no exception. Milhaud 's compositions are influenced by jazz and polytonality, as exemplified in Jacob's Dreams. Composed in 1949, Jacob's Dreams is a dance suite, written for Oboe, Violin, Viola, Cello and Double Bass. It is an alternative, exciting suite, based on the dreams of Jacob in the Bible and made up of five movements; 1) Jacob's Pillow, 2) The first dream (the angel's ladder), 3) Prophecy, 4) Second dream(fight with the dark angel and benediction), and 5) Israel (Hymn). Milhaud makes use of variation in articulation, complex rhythms, chromaticism, accidentals, harmonics, altering tempos, variation in dynamics and a wide tessitura, amongst other aspects. Milhaud 's Jacob's Dream is essential to all advanced ensembles seeking modern and exciting repertoire./ Répertoire / Hautbois, Violon, Alto, Violoncelle et Contrebasse

This single-movement for String quartet employs some of the more familiar elements of Herrmannâ??s compositional style: short musical phrases repeated and then repeated again in other positions sharp use of dynamics among them. It is a fascinating sidelight into the work of one of the 20th centuryâ??s most brilliant composers.Bernard Herrmann was among the greatest of all composers of music for cinema and there are many who avow that he was the greatest of all. A very short list of the films for which this award-winning composer created soundtracks includes Citizen Kane The Man Who Knew Too Much Vertigo Jason and Argonauts Fahrenheit 451 Obsession and Taxi Driver. He had along and fertile association with Alfred Hitchcock during the most productive period of Hitchcockâ??s career and with Orson Welles from the time of the Mercury Theatre on the Air. In addition to his conducting and composing work for the entertainment world Herrmann wrote concert pieces including a symphony opera and cantata.

This work composed in 1878/79 alternates between chamber music intimacy and symphonic opulence and marks the beginning of a series of significant late works by César Franck. Its composition was partly prompted by the successfulperformance of Franck?s youthful piano trios at the ?Société nationale de musique? (founded in 1871) and probably also by a composition competition for works using this instrumental combination whose deadline Franck then went onto miss. The Quintet was received coolly at its first performance in January 1880 and it was performed just a few more times during the composer?s lifetime. It was only in the 20th century that audiences and critics came torecognise this work as a major milestone in the history of French chamber music and it now adorns the Henle catalogue in a new Urtext edition.

Par LANGGAARD RUED. Rued Langgaard (1893-1952) is one of the most important Danish composers of the 20th century. He has, however, only acquired this status many years after his death. Langgaard was an eminent musical talent, but with his romantic and symbolist view of art, he ended up as an outsider in an era when the trend-setting Musical life of the time was dominated by Carl Nielsen?s sober and modern attitude. / Date parution : 2022-04-01/ Recueil / Quatuor à Cordes

Full Score-Written for Cuarteto Latinoamericano this 4-movement work marks a stylistic shift from Vali's first quartet which followed mid-20th Century atonal and serial techniques. In contrast String Quartet No. 2 is a fusion oftraditional Persian melodic modes with Western classical harmonic and formal sensibilities.

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

Three Divertimenti Plus The Spring Dissonance And Prussian No.- Quartets-Divertimenti were a popular genre in the 18th century offering listeners a lighthearted 'diversion' at social functions. Mozart wrote these three pieces for string quartet in Salzburg in 1772. The three-movement Italian-style compositions require only wind parts to assume another form hence their common description as the 'Salzburg Symphonies.'This authoritative inexpensive edition of the ever-popular composer's works features three additional quartets: 'Spring ' 'Dissonance ' and 'Prussian No. 1' QuartetsDover Original.

Par JOLAS BETSY. 'Almost half a century after 'B for sonata', here is another musical evocation of my intriguing trip to Bali. Yannis Xenakis and Toru Takemitsu were there, among others, and we were walking around in the dark one evening when a Topeng appeared to us, in full action: Balinese musical theatre with one actor successively playing several legendary characters by means of mask changes carried out in extreme agitation behind a curtain, accompanied by a raging gamelan. The memory of these little dramas has naturally lost much of its violence when it is evoked today in my 'Quartet VIII'. So we shall hear it here as if in a dream...'' Betsy Jolas / Date parution : 2022-06-08/ Répertoire / Quatuor à Cordes

Bridge’s early works those written before the first World War were more late Romantic in style warmly expansive than his mature works. The Lament for Two Violas was written for himself and Lionel Tertis to perform at Wigmore Hall in March 1912. There were originally two pieces Caprice and Lament of which the first has been lost. Paul Hindmarsh has edited this sheet music from sketches and drafts.It is a deeply felt work interweaving the near-human Voices of the Violas into a work that is more thoughtful than grief-stricken yet no less effective for that.British composer Frank Bridge was active in the early decades of the 20th century and was a highly respectedconductor violist and teacher his sole composition student having been Benjamin Britten. Britten honoured his former teacher in his work Variations on a Theme of Frank Bridge based on a theme from one of Bridge’s pieces for String quartet.