Edward Gregson's String Quartet was commissioned by The Manchester Mid-day Concerts Society in celebration of its 100th year. The premier performance took place on the 14th of January 2015 performed by the Navarra Quartet at the Bridgewater Hall in Manchester. The piece is divided into three distinct movements each developing and changing what has come before. When commenting on his compositional process for String Quartet Gregson noted that he desired to return to the classical principles of Beethoven and Bartok deciding to include extended sonata variation and rondo forms.

Howard Blake's Walking In The Air from the beloved Christmas animated film The Snowman arranged for String Quartet by the composer himself in 2010. Score/parts.

POD-This is Howard Blake's timeless classic The Snowman arranged for String Quartet with optional narration. These are the Parts. A full performancelasts around 26 minutes.

For Four String Quartets And Large Tibetan Temple Bowl-Towards Silence is a meditation on the four states of Atma. This fantastic score and sheet music was expertly composed by British composer best known for religious and minimal works John Tavener.

Commissioned by the Presteigne Festival of Music and the Arts Limited with funds provided by the Arts Council of Wales for premiere in August 2012 by the Carducci String Quartet in St. Andrew?s Church Presteigne.Composer's Note.'Some years ago I noted down the opening theme of what I anticipated would be a relatively Classical string quartet ?Classical? in the sense of the forms adopted plus perhaps a predominantly lyrical tone of voice. The commission for this work from the Presteigne Festival for their 30th anniversary in 2012 gave me the opportunity of putting into practice this long-held idea. It isdedicated to the Festival and to the Carducci Quartet whose career as much-admired friends and colleagues I have greatly enjoyed.The only break with ?classical? tradition is that there are five movements instead of four with two Scherzi as the second and third though both these are very short and contrasting. I found myself listening to Haydn?s string quartets a lot before and during the composition of this work and I hope the spirit of his delight in writing for this medium is echoed in my own music. The opening movement is in sonata form unusually for me and lyricism is I hope the basis of it though there is a good deal of activity at times. The Scherzo light and marked by frequently-changing rhythms is followed by an equally short but ferocious Perpetuum mobile marked Wild und rasch (one of my favourite German tempo markings). The fourth movement is an intense Adagio in which a single phrase uttered strongly in unison is gradually transformed into gentle diatonic chords before the close intermingled with cadenzas for cello for viola and for the two violins together. The finale (a Rondo) resumes the classical tone of the first movement but apart from one dance-like episode it builds up a fair head of steam towards a final Presto which however ascends slows and quietens towards a gentle summer sky at dusk.'