Streichquartett Nr. 2 d-Moll. By Bedrich Smetana. Edited by Frantisek Bartos; Josef Plavec; Karel Solc. For String Quartet (2 violins, viola, cello). Set of Parts; Urtext Edition. Published by Baerenreiter Verlag (German import).

Version of the Piano Sonata, Op. 14, No. 1 - Revised Edition - for 2 Violins, Viola and Violoncello. By Ludwig van Beethoven. Edited by E. Herttrich. String Quartets. Pages: Parts - Vl I = 67* Vl II = 59 * Va = 58 * Vc = 54. Urtext edition without fingering-paper bound. Published by G. Henle.

String Quartet. By Johann Sebastian Bach. Arranged by Joel Lish. For 2 Violins, Viola and Cello. Classical. Level: Advanced. Set of parts. Published by Middle Fiddle Music.

String Quartet

SKU: HL.14031816

Composed by Jean Joubert. Music Sales America. Classical. Book [Softcover]. Music Sales #NOV12053901. Published by Music Sales (HL.14031816).

8.5x11.75x0.3 inches.

Though conceived as four separate movements, my second string quartet has a single motif which is common to them all. This is the three-note Muss es sein? from Beethoven's last quartet, Op. 135. But whereas Beethoven's theme is notated G E A flat, thus giving it an F minor connotation, I have sued an alternative spelling - G E G sharp - which suggests an ambiguous E minor-major. This ambiguity, in fact, becomes the tonal basis of the whole work, only to be resolved at the end of the final movement. Each movement begins with a variant of the basic motif on the cello. The first has the original form of the theme, while the second has a majorised version which is also expressed as a chord. The third movement, with its scherzoid middle section, reverts to the major-minor ambiguity of the first, and the finale begins with the majorised version as an ostinato accompaniment on pizzicato cello. The slow movement is sub-titled In memoriam DSCH and concludes with a quotation of Shostakovich's motto - D E flat C B - which is basically the same as Beethoven's with the addition of one note. This is not to imply that the work contains no other thematic material. One important theme, a rising fifth and a second, is also common to three of the movements, and is ultimately derived from my first quartet, Op. 1 of 27 years earlier, to which this second contribution to the form is in many ways like a sequel. Like the earlier work, too, this quartet is dedicated to my wife.