George Speckert made a name for himself with the simple but sonorous adaption for mixed string groups. With indian songs of different tribes he leads 'young' string quartets into unusual geographic

Archduke. Par BEETHOVEN LUDWIG VAN. By the time Beethoven completed the ?Archduke? Trio in 1811 he had been working on it for several years. In April 1814 he could finally give the work its première together with Ignaz Schuppanzigh and Joseph Linke, this being Beethoven?s last public appearance as a pianist. He dedicated the piece to his friend, pupil and patron, Archduke Rudolph of Austria. Today it numbers among his most celebrated pieces of chamber music, not least because of its remarkable melodiousness ? a feature typical of Beethoven?s music from these years ? and its spacious formal design. Jonathan Del Mar?s new critical edition of the Trio draws not only on early prints but also on various handwritten sources. A detailed introduction by Misha Donat is devoted to the work?s historical contexts. - Urtext edition of Beethoven?s most famous piano trio - Detailed introduction (Eng/Ger), editor?s foreword (Eng/Ger) and Critical Commentary (Eng) / Date parution : 2022-11-29/ Répertoire / Violon, Violoncelle et Piano

Par GRIEG EDVARD. Grieg Holberg Suite (From Holberg\'s Time) Op.40 (Full Score) Suite in the Olden Style for String Orchestra To celebrate the 200th birthday of the playwright Ludvig Holberg (1684-1754), a statue was erected in his honour in 1884. Edvard Grieg, who, like Holberg, was born in Bergen, was commissioned to write an open-air cantata for the ceremony. But he also refers to Holberg in his instrumental music. The result was a ?powdered wig piece? (as Grieg wrote to his publisher) that hearkens back to Holberg?s era ? a historicising suite of baroque dances for piano, ranging from an exhilarating prelude and several dance numbers to a Bachian ?air? and an impetuous ?rigaudon?. Later Grieg arranged his ?Suite in the Olden Style? for string orchestra. This version became one of his most popular compositions. For our new scholarly-critical edition Christoph Rinne-Schroeder has meticulously examined the original print and compared it with previously neglected performance material annotated by Grieg himself. - New Urtext edition of this popular work for string orchestra - Based on previously neglected sources by Grieg himself - String parts in a practical large format (25.5 cm x 32.5 cm) / Date parution : 2022-07-30/ Répertoire / Orchestre à Cordes

String Quartet in C-sharp minor op. 131. Many anecdotes surround String Quartet op. 131: Beethoven is said to have considered it to be his finest quartet and of his late period works, the one dearest to his heart. It is also believed that the composer invested so much of himself in it: his ailing health, the social isolation brought about by his deafness and the suicide attempt of his nephew Karl. In addition it was reported that Franz Schubert asked to hear this piece once more on his deathbed. Even if these anecdotes are not all true, they reveal what generations of musicians felt they heard in this quartet: Beethoven?s most personal musical idiom and a vulnerable message from the final period of his life. This new edition by Jonathan Del Mar represents a thorough revision of this highly complex work. Meticulously incorporated are Beethoven?s pencil markings that were previously almost completely ignored.

For composer Thomas Daniel Schlee the ?intimate sound possibilities of the string quartet? have the potential ?to formulate an albeit ?only? individual solution to the somewhat forlorn condition of new art music within society that we are unfortunately experiencing today.? Schlee?s Fourth String Quartet opens with a pure C major sound out of which he develops a harmonically free band of voices: ?The pure as a source not pleasing?! After a melodically dominating episode and a continuation of the ?swinging tone-motion from the beginning? a thematically solidified section follows. It is met by a second more extensive melodic episode followed by a ?nightly scene?. Coming full circle the opening music of the piece finds its continuation leading into a lament ? first articulated by the ensemble then finally as ?the viola?s long forlorn search for the melody symbolizing a farewell.?

In der ?intimen Klanglichkeit des Streichquartettes? liegt für den Komponisten Thomas Daniel Schlee das Potential eine ?freilich ?nur? individuelle Antwort auf die heute zu beklagende weitgehende gesellschaftliche Verlorenheit neuer Kunstmusik zu formulieren.? Sein Viertes Streichquartett beginnt mit einem reinen C-Dur-Klang aus dem sich ein harmonisch freies Band der Stimmen entwickelt: ?Reines als Quelle nicht Gefälliges!? Nach einer melodisch dominierten Episode und einer Fortsetzung des ?schwingenden Tonsatzes des Beginns? tritt ein thematisch verfestigter Abschnitt ein. Ihm antwortet eine zweite erweiterte melodische Episode gefolgt von einer ?nächtlichen Szene?. Der Kreis schließt sich mit der Fortführung der das Werk eröffnenden Musik. Diese mündet in einen Klagegesang ? zunächst des Ensembles zuletzt in der ?langen einsamen Melodiesuche der Bratsche als Sinnbild eines Abschiedes.?