This new scholarly-critical edition of String Quartet Op.127 the first of Beethoven’s late quartets follows upon Urtext publications of Opp.18 59 74 and 95.Once more the editor is the renowned Beethoven authority Jonathan Del Mar. All surviving sources have been consulted including sketches to clarify the conflicting readings in the autograph. Not only has Del Mar reconstructed Beethoven’s original beaming phrasing articulation and length of crescendo hairpins he has also corrected wrong notes that have taken hold in editions published over the years and has supplemented missing notes.Urtext edition at the cutting edge ofscholarship with detailed separate Critical Commentary (Eng)Parts ideally laid out for performance purposesParts (BA9029) & study score format 22.5 x 16.5cm (TP929) available for saleAlready published: String Quartets Op.18 BA 9016 parts TP 916 study scoreString Quartets Op.59 BA 9017 parts TP 917 study scoreString Quartets Opp.74 95 BA 9018 parts TP 918 study score

Of all his early chamber works the 'Nocturne' is most clearly by the mature Vaughan Williams almost anticipating the influence of Ravel which followed his lessons from the French composer in 1908. In the veiled beauty of its highly chromatic harmonies we hear already the tone-poet of the slow movement of 'A London Symphony' while in the fleet-footed 'Scherzo' there is already a French influence in the way the folk-song is subtly woven into the texture only brief snatches of the tune being heard until the penultimate page when it receives fuller treatment. The work plays for about 10 minutes. The 1904 'Scherzo' is a vigorous march with fugal episodes which lasts some 6minutes and may effectively be performed by itself.

An informative preface and critical commentary by Ales Brezina and Ivan Straus (Cz / Ger / Engl / Fr) - A new practical edition at the forefront of Martinu scholarship - All existing sources consulted.The String Quartet no. 6 by Bohuslav Martinu (1890-1959) represents a distinct step on the journey which the composer characterised as his development from geometry to fantasy and for which the almost continuous use of the principle of developing variations restless harmonic development the pulsation of minute rhythmic values and inventive work with sound are characteristic.The quartet which was written in New York in the autumn of 1946 constitutes the beginning of the composer's later works in which moods freely overflow regardless of any predefined formal layout. The editors of the new edition (based on the composer's autograph) have carefully removed all of the problematic and somewhat arbitrary editorial intervention in the sole existing edition dating from 1950 (actually 1955).With its urtext edition of the 6th quartet Editio Bareneriter Praha has continued in its series of new publications of works by Bohuslav Martinu - quartets nos. 4 and 5 have already been published for this instrumental line-up.

Urtext Edition-Brahms had already composed over 20 String quartets (he confessed to a friend that he had burnt all of that ?stuff?) before he finally presented his Opus 51 to the public. In the end only three surviving works managedto withstand his high self-criticism; numerous layers of corrections bear witness to his struggle with each detail. We are now publishing the two passionate dark Quartets Op. 51 separately from the rather more lively Opus67. The basis for this edition is the volume in the New Complete Edition of Brahms? works published in 2004 by Henle for which previously missing sources in a Swiss bequest were consulted for the firsttime.

String Quartets Book IX op. 71 and 74-Haydn dedicated the series of Quartets op. 71 and 74 to the Hungarian Count Apponyi a Viennese patron of music and a freemason friend. Haydn composed them when he was enjoying a great deal ofsuccess with his 'London Symphonies' in England. With their weighty slow introductions and dense movements focusing on sound they also have symphonic characteristics. In particular the Quartet in g minor op. 74 3 isstriking on account of its expressiveness and originality. Due to the rhythmic drive of the outer movements it was give the epithet 'Rider Quartet'. The study edition complements the parts of the 'ApponyiQuartets' which are already available in Henle Urtext.

Gabriel Fauré's only string quartet which was composed in 1923-24 is the composer?s final work and was written at the suggestion of his publisher Jacques Durand.Until then Fauré had always put off writing a string quartet evidently because of Beethoven?s imposing shadow. When Fauré composed the quartet he was already extremely ill. He added dynamics and slurs only in some parts of the exposition of the first movement and then asked his former pupil Jean Roger-Ducasse to complete the work. Roger-Ducasse?s additions were however very extensive; he even altered and supplemented some of Fauré?s own markings in the exposition.Bärenreiter's first ever scholarlycritical edition of the quartet based on vol. V/3 of the edition 'Gabriel Fauré: ?vres complètes' begun in August 2010 utilises all sources including the composer?s letters which provide valuable insights into the origins of the composition. In particular Fauré?s penultimate work the Piano Trio op. 120 was used to guide the editor with his emendations.

Für Streichquartett-In 1919-20 George Gershwin was making a name for himself with Broadway songs and a first show of his own in New York. But he was already attracted to the world of classical music a world he would enter with a bang in 1924 withhis Rhapsody in blue. He prepared himself for this by taking an intensive course in composition during which he wrote this brief ?Lullaby? for string quartet as an exercise probably in 1919. He liked its catchy melody so muchthat he later used it again in his one-act ?jazz opera? Blue Monday Blues. ?I find the piece charming and kind? wrote his brother Ira in 1968 when the quartet movement appeared in print for the first time. Thus the world wasgiven a second lullaby by this American composer one worthy to stand alongside his famous ?Summertime? from Porgy and Bess.(englisches Originalzitat: ?I find the piece charming and kind.?)

'Die fröhliche Viola' is a viola method for children which is aimed primarily at pupils who start to learn playing the viola without taking a detour to the violin. Those who have already played the violin and use the method as a 'way to change instruments' may skip some pieces or even start with Vol.2.Like 'Die fröhliche Violine' this book intends to make the children have fun while learning to play the viola. For this purpose a stylistically varied range of classical and folkloristic songs and instrumental pieces encourage music-making and small texts provide interesting information on the viola the music and its composers.The viola is used both as a solo and as anaccompanying instrument and the 'hearing' and 'counting' of middle and lower lines are specifically trained. Due to the fact that many songs and secondary parts are notated in the treble clef and thanks to examples for trio and quartet playing this book especially encourages ensemble playing with friends or within the family.

Hawkes Pocket Scores HPS 1192-Study Score - Hawkes Pocket Score 1192. Gorecki Hm