QUINTET in C Major for 2 Violins, Viola and 2 Violoncellos, Op. 163 QUARTETS for 2 Violins, Viola and Violoncello N°1 N°2 in C Major N°3 in B-flat Major N°4 in C Major N°5 in B-flat Major N°6 in D Major N°7 in D Major N°8 in B-flat Major, Op. 168 N°9 in G Minor N°10 in E-flat Major, Op. 125 No. 1 N°11 in E Major, Op. 125 No. 2 N°12 (Quartett-Satz) in C Minor N°13 in A Minor, Op. 29 N°14 in D Minor (Death and the Maiden) N°15 in G Major, Op. 161 TRIOS for Violin, Viola and Violoncello In B-flat Major In B-flat Major

A quartet in three movements for two violins, viola and cello: 1 - Allegro moderato - 2 - Piacevole (poco andante) - 3 - Allegro molto. / Quatuor A Cordes

Par BACH JOHANN SEBASTIAN. Bach would almost certainly have approved of this arrangement of his organ work (BWV 582) for string quartet by John Cooley, as it conveniently has four contrapuntal parts, and he was well known for making arrangements of his own works, according to instrumental resources at his disposal. Moreover, the parts mostly fit well within the ranges of violin, viola and cello, although notes have been raised by an octave in a few places. This quartet version is therefore simply the four parts written out separately, following Bach?s original version note for note. It is quite ?notey? but straightforward and accessible technically to reasonably good players as there are no tricky rhythms or high notes. As well as this organ piece arrangement, SJ Music has also published John Cooley?s arrangements of Mozart?s piano duets K497 and K521 for piano trio and piano quartet respectively, Bach?s concerto for violin and oboe for string quartet, and one of Purcell?s trio sonatas for string trio. / Date parution : 2022-03-16/ Répertoire / Quatuor à Cordes

Par STAIDLE SCOTT. Wedding Music for String Quartet includes 14 favorites for weddings, recitals, parties and receptions. New adaptations of these arrangements allow each musician to share melodic, harmonic and accompanying elements. These quartets are well suited for intermediate to advanced musicians and include bowings, fingerings, articulations and dynamics. Includes four separate pull-out parts for violin 1, violin 2, cello and viola. / Niveau : Intermédiaire / Pédagogie / Date parution : 2019-05-27/ Répertoire / Quatuor à Cordes

Par BACEWICZ GRAZYNA. Studying the sketches for works which a composer considers to be finished, perfected, is a fascinating activity. It enables one to penetrate the secrets of creative work, to compare the initial outline of a composition with its final version. A sketch is generally left untitled, but it does occur that a composer enhances the status of such a draft by giving it a title, before creating an improved version of that title on the basis of the finished work. The list of compositions by Grazyna Bacewicz, the full catalogue of which is held in the National Library in Warsaw, includes a work for string quartet entitled Quatuor. The manuscript was left undated, but analysis of the music allows us to date this work to the mid-1960s. In the composer?s output from that period, the instrumental tone colouring, often an element that helps to forge a work, takes on particular significance. The first movement of the Quatuor [à cordes] opens with three fifth-tritone chords ?cast forth?, in succession, in saltando-gettato technique by the cello, second violin and first violin. When we look at the beginning of the Seventh String Quartet, from 1965, such a chord appears in the second bar of the cello part. Further comparisons lead to interesting conclusions. The two opening movements are almost identical, built from the same elements, only spatially arranged in a different way. In the structure of the first movement of the Seventh Quartet, one distinguishes two thematic planes, which shape the narrative after the fashion of a sonata allegro. The first theme is a series of episodes of changing texture ? from passagework to chords and short glissandos repeated with varying intensity. The second theme (Meno mosso) displays an imitative form. Both works feature an inverted reprise. For the first 25 bars of the second movement, a nostalgic Grave, the two works sound identical. The continuation of this movement in the Quatuor [à cordes] is more modest than in the analogous segments of the Seventh Quartet, in terms of both changing textures and the use of differentiated means of articulation. Towards the end, a motif from the beginning of this movement returns in modified form. Both the third movements (Capriccioso in the Quatuor [à cordes], Con vivezza in the Seventh Quartet) take the form of a rondo, and appearing in each of them is the same ?warbling? theme, based on scattered notes with grace notes. The Seventh String Quartet is in three movements. The presumed prototype consists of four movements. The last movement of the Quatuor [à cordes] is a Maestoso resembling a mine of textural ideas for other works of a sonoristic provenance from this period. The introduction, constituting a closed narrative whole and a reference point for the rest of the movement, is followed by segments that are dominated by ostinatos of various kinds, including with the use of harmonics, passages built on the progressive shifting of short motifs, and unevenly spread chords. Grazyna Bacewicz used material from earlier works more than once in her compositions. Her oeuvre also includes ?twin? pieces merely scored for a different set of instruments. Yet the self-quotation that occurs in the case of the Quatuor [à cordes] and the Seventh String Quartet ? lengthy passages from another of her works reused with minor modifications ? is an unusual situation. It undermines the former?s status as an independent work. Malgorzata Gasiorowska/ Répertoire / Quatuor à Cordes