En 1771, en même temps, deux compositeurs à Madrid, Luigi Boccherini et Gaetano Brunetti ' découverte ' et établi le quintette à cordes comme un nouveau genre musical. Tandis que les oeuvres de Boccherini sont effectuées aujourd'hui encore, le oeuvre de son collègue, membre de l'Orchestre Royal, doit encore être découvert. Son Quintet en si bémol majeur, opus 7/3 fournit une bonne occasion de le faire. Comme des contributions à ce genre de Mozart, il est inscrit pour deux violons, deux altos et violoncelle. Ecrit dans un style concertant, le travail de cinq-mouvement permet de tous les artistes interprètes ou exécutants ont leur mot à dire musical, contenant des figurations solos virtuoses et solos mélodiques. Un ajout précieux au répertoire quintet chaîne - avec un vraiment agréable de jouer et de l'expérience d'écoute garantis ! / 2 Violons, 2 Altos Et Violoncelle

Par PLEYEL IGNAZ. The Quintet in G minor belongs to the first group of three quintets written by Ignaz Pleyel in 1785 and published for the first time in 1786. Of all his quintets, it was the most frequently published one and was available in various editions even during Pleyel's lifetime. The modern character of this piece shows in the 'new kind' of compositional technique and elaboration of the themes, as presented by Joseph Haydn for the first time in 1781 in his String Quartets Op. 33. As with Haydn, the modern compositional style shows in the thematic work of the development which is mainly derived from the main theme. Particularly impressive is the elaboration of the theme by imitation, sequencing, shortening, rhythmic and tonal changes as well as by inversion./ Répertoire / 2 Violons, 2 Altos et Violoncelle

Par MANTOVANI BRUNO. / contemporain / Répertoire / 2 Violons, 2 Altos et Violoncelle

With the publication of the masterpieces K. 593 and 614 all of Mozart’s string quintets are now available in Henle Urtext. Our edition corrects several widespread misreadings of the musical text and also draws on the firstprintings as important sources. The first printing of the Finale from the Quintet in D major K. 593 diverges greatly from the autograph. The editors consider it probable that the print version was authorized which is the reasonwhy we have published both versions of the movement (to enable a better comparison it is given as an ossia version above the musical text). In the Preface and Comments the editors shed light on the source situation to these twoimmortal works written in the last two years of Mozart’s life.