Par D\'ADAMO DANIEL. ?Quatuor n°2? was first performed by the Tana string quartet on April 14, 2013, at Radio France, Paris. ?I conceived a piece whose principal subject was going to consist in the description of a minuscule sonic element. The description of this tiny initial material would be so precise, so detailed that, deployed on a much larger scale than its original one, it would occupy the entire duration of the piece. At that point, I just had to choose a sound model as the starting point of the piece, the sound that would best characterize the string instruments themselves: the noisy sound produced by the bow barely coming in contact with one of the strings, getting ready to acquire speed, weight, acceleration, and producing a full sound of a violin, a viola or a cello?? Daniel D?Adamo / Date parution : 2022-02-03/ Répertoire / Quatuor à Cordes

Giles Swayne's third string quartet was commissioned by Lord Harewood for the 1993 season of concerts at Harewood House Leeds. The first performance was given by the Skampa Quartet at Harewood House December 1993. The work is written in one continuous movement duration 21 minutes. Instrumentation Violin I Violin II Viola Cello.

10 Fugues For String Quartet Vol. 2-The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets' Op. 20. The spirit and influence of J.S. Bach in particular his Well Tempered Clavier Book II courses through these three miraculous Haydn fugues. Like the viol consort the string quartet suits this kind of composition (the fugue) with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations there's little fugal writing for string quartet at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire – lightness of sound and rhythmic fluidity for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces mostly fast bright and in major keys show Bach at his most playful funny and mischievous composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues written by my favourite composer - a violinist and violist himself but above all a master

Set of parts ( Violin I II; Viola; Cello; Bass)As the name suggests the ???Missa Popularis??? has its musical roots in folk music.This becomes clear in the very first bars of the Kyrie where the Violin plays amelody in the style of a Swedish folk tune above a Bass Ostinato. The musical charm of the Mass derives from the combination of Choir [SSA(TB)] and String Quartet.The Choral parts enable performances by female choir or mixed choir. In the latter case the String Quartet is reinforced by a Double Bass.The version for female choir was premi?red in Poznan on 25 April 2015 with Alicja Szeluga conducting the Skowroniki GirlsChoir.also available for sale full score (BA7420) and vocal score (BA7420-90)

Work dating from 1952-58. Programme note: The spectrum of sound the gesticulation in short the very nature of the strings has always had a central place in my output demonstrated by the numbers of string quartets concertos with string soloist chamber and solo works. The interest dates back to my school years when I was fortunate to be able to compose for a cello-playing schoolmate and to accompany him on the piano. I discovered then the innumerable nuances of sound and playing varieties offered by just one bow four strings and five fingers.. My second string quartet Quartetto Brioso has a firm root in the Nordic traditionand is strongly inspired by Jean Sibelius (1865-1957) and my teacher Vagn Holmboe (1909-96). Per Nørgård