Three arrangements including Ave Verum Corpus and the Lacrimosa from the Requiem.During the year 1771 when Mozart was 15 years old he and his father Leopold were touring Italy which was at that time the most formidable citadel of the music world. In the following four years the young Mozart was received at the homes and villas of Italy's aristocracy. He met the most famous musicians of the time including Niccolo Piccinni operatic rival to Gluck and Padre Martini from whom he was to benefit from studies in counterpoint. He also met many noted male soprano singers and for one the celebrated Venanzio Rauzzini he wrote in 1773 the motet Exsultate Jubilate from whichcomes the well known Alleluia.At the end of his life only 19 years later in Vienna 1791 Mozart was very ill and working on a number of massive works such as the operas The Magic Flute and Titus also the Requiem. Titus was completed in 18 nerve-shattering days as it had to be performed in Prague in September 1791. At its premiere it was a complete flop. This affected the now overworked almost penniless composer's spirit and he returned to Vienna suffering from mental and physical exhaustion. Rest was denied him. The Magic Flute had to be finished for its premier on September 30th 1791. The task of the Requiem still faced him. In this weakened state Mozart thought that he was in fact writing his own requiem reading evil omens into the commissioning of the work. He thought someone had calculated the precise time of his death and was thus troubled with sombre thoughts. He completed the first two of the twelve parts. The next six parts were in an unfinished state and his manuscript ceased at the Lacrimosa. Süssmayer who was working closely with Mozart at the time was given the task of finishing the Requiem.Ave Verum Corpus is also one of his final works. It is a setting of an anonymous hymn written as a motet for Anton Stoll the choirmaster at Baden in June 1791.Mozart was a composer of great genius who

Introducting 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 masterpieces.Each volume includes: Full Score - included with the parts for the first time - invaluable forperformance preparationFold-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 authoritative 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.

The second string quartet by Philip Glass is a lyrical almost romantic piece with strong prominant melodies and deceptively simplistic arrangement that reflects his pioneering minimal compositions. The piece began life as a scorefor Mabou Mines the New York theater company that counted him as 'unofficial' composer for almost three decades and the name comes from the Samuel Beckett play Company.

One of the best-loved and most endearing works of the late Baroque Vivaldi's set of Violin Concertos The Four Seasons Op.8 are presented here in an authoritative Barenreiter Urtext edition. This publication of Vivaldi’s masterpiece is a critical performing edition of the Manchester manuscript source which originates from Vivaldi’s circle and represents an alternative (in many cases more explicit) version of these famous concertos than the first printed edition published by Le Cene in Amsterdam in 1725.The Manchester source has until now not been used as the primary basis for a modern performing edition andoffers new readings and evidence for players and listeners alike.With Christopher Hogwood’s new edition a fresh gust of wind has taken hold of The Four Seasons.

Quatuor à cordes #1 ('entre le National et le Bristol') a été commandé par le Festival de Vienne pour le Quatuor Arditti à effectuer en octobre 1985. '... beaucoup de la musique est dans le registre élevé, notamment vers la fin où chaque instrument de-tunes une paire de chaînes et par la suite joue seulement en harmoniques, naturels et artificiels. ' / Quatuor A Cordes