Quartets Volume 1

und Streichquartettfassung Kaviersonate Opus 14/1-String Quartets op. 18 No. 1-6 and String Quartet-Version of the Piano Sonata op.14/1.

Best Loved Stringquartets. A popular genre in the 18th century, divertimenti offered 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. Students, teachers, and professional string players will prize this authoritative collection of three divertimenti plus three additional quartets by the ever-popular composer. This convenient single-volume version is the least expensive edition available of these works, and its sturdy binding allows pages to remain open on music stands, promising years of use and enjoyment.

These three String Quartets are part of six published in two volumes by SJ Music (the other volume of three quartets is Q2003-2). They are tuneful and straightforward to play.Maddelena Lombardini-Sirmen a violinist singer and composer was born in Venice in 1745 and was at one time a pupil of Tartini. Leopold Mozart mentioned hearing 'a beautifully written concerto' by her in a letter to his wife and son Wolfgang in 1778.

Instrumentation : 2Vln.Vla.VcIntroducting his new player-friendly edition of the Haydn Quartets, Simon Rowland-Jones writes: 'There can be no such thing as a final, perfect version; Haydn left too many questions open.' The new Peters Edition is founded upon this honest assessment. By heightening our awareness of the questions that remain 'open', this edition liberates the interpretative inspiration of performers as never before. As a result, the new edition is likely to become indispensable for all who perform or study these masterpie ces. Each volume includes: - Full Score - included with the parts for the first time - invaluable for performance preparation - Fold-out Pages - as required in the separate parts, eliminating all page-turns within movements - Guidance for Performers - as well as giving historical background to the quartets, the prefaces to each volume contain a treasure trove of information about all aspects of performance practice - Critical Commentary - in the extensive Critical Commentary to each volume the most author itative early sources for Haydn's quartets are carefully evaluated and full details of their variant readings given for comparison. Naturally, the composer's autograph, where extant, assumes pre-eminence, but alternative primary sources are also considered, and secondary sources drawn upon where appropriate. The Publishers and Editors gratefully acknowledge the generous support for editorial research given by the Radcliffe Trust, the Arts and Humanities Research Board, the Royal College of Music and the Royal Northern College of Music.Content : Op.33, Hob III: 37 - 42 Editor :Rowland-Jones,S.

Instrumentation : 2Vln.Vla.VcIntroducting his new player-friendly edition of the Haydn Quartets, Simon Rowland-Jones writes: 'There can be no such thing as a final, perfect version; Haydn left too many questions open.' The new Peters Edition is founded upon this honest assessment. By heightening our awareness of the questions that remain 'open', this edition liberates the interpretative inspiration of performers as never before. As a result, the new edition is likely to become indispensable for all who perform or study these masterpie ces. Each volume includes: - Full Score - included with the parts for the first time - invaluable for performance preparation - Fold-out Pages - as required in the separate parts, eliminating all page-turns within movements - Guidance for Performers - as well as giving historical background to the quartets, the prefaces to each volume contain a treasure trove of information about all aspects of performance practice - Critical Commentary - in the extensive Critical Commentary to each volume the most author itative early sources for Haydn's quartets are carefully evaluated and full details of their variant readings given for comparison. Naturally, the composer's autograph, where extant, assumes pre-eminence, but alternative primary sources are also considered, and secondary sources drawn upon where appropriate. The Publishers and Editors gratefully acknowledge the generous support for editorial research given by the Radcliffe Trust, the Arts and Humanities Research Board, the Royal College of Music and the Royal Northern College of Music.Content : Op.64 Hob. III: 63 - 68 Editor :Rowland-Jones,S./(Editor ial Consultant: Ledbetter)