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

Programme Note During the composition of my tenth string quartet a flower-name høst-tidløs came to my mind - and it would not me leave again. [høsttidløs is actually autumn crocus in English but the composer prefers harvest-timeless to maintain some of the associations of the Danish flower-name red.] The paradoxical union of a seasonal time (harvest) and no-time-at-all was a good fit to the sections of the work that I had composed at that time and I decided to tentatively stick to that title for the work-in-progress and now having finished the piece I can say that is is still a fitting title - and it stands. Enough about the title I will go onto describe the music a somewhat more precarious project. My tenth string quartet is probably the most basic string quartet that I have composed; melodically - and in sound - it employs the naturally based overtones and undertones* (perceived at major and minor respectively) and rhythmically it is based on growth on the principles of the Golden Section and the structure itself contrasts abundance and exuberance with sections of immobility and contemplation. However Melos melody is definitely the dominating aspect of my STRING QUARTET NO. 10; behind even the most rhythmically complex or pure sonoric sections lies a firm - if hidden - basis of melodic or polyphonic ideas. The work was composed in 2004-2005 for the Kroger Quartet.

Programme Note During the composition of my tenth string quartet a flower-name høst-tidløs came to my mind - and it would not me leave again. [høsttidløs is actually autumn crocus in English but the composer prefers harvest-timeless to maintain some of the associations of the Danish flower-name red.] The paradoxical union of a seasonal time (harvest) and no-time-at-all was a good fit to the sections of the work that I had composed at that time and I decided to tentatively stick to that title for the work-in-progress and now having finished the piece I can say that is is still a fitting title - and it stands. Enough about the title I will go onto describe the music a somewhat more precarious project. My tenth string quartet is probably the most basic string quartet that I have composed; melodically - and in sound - it employs the naturally based overtones and undertones* (perceived at major and minor respectively) and rhythmically it is based on growth on the principles of the Golden Section and the structure itself contrasts abundance and exuberance with sections of immobility and contemplation. However Melos melody is definitely the dominating aspect of my STRING QUARTET NO. 10; behind even the most rhythmically complex or pure sonoric sections lies a firm - if hidden - basis of melodic or polyphonic ideas. The work was composed in 2004-2005 for the Kroger Quartet.

12 Beliebte Klassische Stücke Für 3-4 Violinen. Well-known melodies in easy Arrangements are ideally suited for joyful music-making in a group. The arrangements allow students of different performance levels to make music together. Most pieces and parts can be played in first position. The third and fourth parts can also be played with viola or cello. Not only kids will have fun with this booklet! / Niveau : Facile / Recueil / 4 Violons

Par VASKS PETERIS. The Latvian composer Peteris Vasks, who is known for his atmospheric pieces for string orchestra, “Cantabile”, “Musica dolorosa” and “Voices”, is concentrating increasingly on chamber music: his latest works are the “Partita” for cello and piano, the “Fifth String Quartet” and a piano quartet. Vasks has brought elements of ancient and folk traditions in Latvian music into his compositions. While most of his works have programmatic titles relating to natural processes, Vasks is not concerned with a poetic homage to Nature, nor with depiction of landscape as an aesthetic ideal. The main themes which Vasks explores in his most recent musical work are the reciprocal relationship between man and Nature, the beauty of life and the impending ecological and moral destruction of these values./ Répertoire / Quatuor à Cordes