'Romance for violin and piano is a short reflective piece that exploits the lyrical qualities inherent in the combination. Originally written for a very young but talented violinist Romance travels through numerous moods andcolours within a continuous musical development of the opening material. At first gentle and reflective with increasing dramatic outbursts outlined by the violin sforzandi and parallel sixths in the piano writing numerous shortsolo passages in both instruments culminate in a fiery climax. Quickly subsiding into the calmer yet now more melancholy strains of the earlier stages of the piece the ending is somewhat incomplete. This seems to suggest acontinuous turn of events alluded to in the music.'???????????? - Helen GrimeBorn in 1981 Helen studied oboe with JohnAnderson and composition with Julian Anderson and Edwin Roxburgh at the Royal College of Music. She graduated from the BMus course with First Class Honours and completed her Masters with Distinction in 2004. From 2005-07 Helenwas a Legal & General Junior Fellow at the Royal College of Music. In 2003 she won a British Composer Award for her Oboe Concerto and was awarded the intercollegiate Theodore Holland Composition Prize in 2003 as well as allthe major composition prizes in the RCM. In 2008 she was awarded a Leonard Bernstein Fellowship to study at the Tanglewood Music Center where she studied with John Harbison Michael Gandolfi Shulamit Ran and Augusta Read Thomas.Helen has had works commissioned by some of the most established performers and organisations including ENO London Symphony Orchestra BCMG Britten Sinfonia BBC Scottish Symphony Orchestra and the Tanglewood Music Center.Conductors who have performed her work include Daniel Harding Oliver Knussen Pierre Boulez and Yan Pascal Tortelier. Helen is the 2010 recipient of the Lili Boulanger Memorial Fund and Associate Composer of The Hall? from the

for Violin Viola and Orchestra-There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ?Symphonie concertante? his special attention. On April 5 1778 he wrote to his father: ?Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon?.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned ?sinfonie concertante? in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart?s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score

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

E flat major-There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ?Symphonie concertante? his special attention. On April 5 1778 he wrote to his father: ?Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon?.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned ?sinfonie concertante? in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart?s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score

E major BWV 1053-In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).BWV 1053 is the second piece in the autograph score of harpsichord concertos that Bach prepared in or around 1738 (Berlin Staatsbibliothek Mus. ms. Bach P 234). It was probably transcribed from a concerto for a solo woodwind instrument although opinions differ on the original key and instrument. Bach had alreadyreworked the original concerto in two church cantatas in the autumn of 1726 (BWV 49 and BWV 169) at which time he assigned the solo part to the organ. Perhaps the original concerto is not much older than these cantatas for the siciliano slow movement is closely related in expression to many numbers from his great Passion settings.Urtext of the New Bach EditionFull score & parts (BA5225) two-keyboard reduction (BA5225-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale

F minor BWV 1056-In early 1729 Bach became director of the so-called 'Scottish Collegium Musician' a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).The Concerto in F minor BWV 1056 is the fifth of the harpsichord concertos contained in the autograph score that Bach wrote out in or around 1738 (Berlin Staatsbibliothek Mus. ms. Bach P 234). It is one of those harpsichord concertos that reveal themselves to be transcriptions even though the original model is nowlost.- Urtext of the New Bach Edition- Full score & parts (BA5228) two-keyboard reduction (BA5228-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale

D major BWV 1054-In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).The D-major Concerto BWV 1054 originated as a transcription of Bach’s Violin Concerto in E major BWV 1042. The principal source for our edition is the autograph score of Bach’s harpsichord concertos preserved in the Berlin Staatsbibliothek (Mus. ms. Bach P 234) where BWV 1054 forms the third item. Toaccommodate the upper limit of the harpsichord keyboard Bach decided to transpose the piece down a whole tone which allowed him to retain the frequently occurring peak pitch e3 without altering the melodic line.The D-major Concerto owes its popularity to the clear and straightforward formal design of its movements no less than its overall mood of relaxed merriment. This mood also finds expression in Bach’s choice of the rondo form for the final movement a form otherwise seldom encountered in his concertos.Urtext of the New Bach EditionFull score & parts (BA5226) two-keyboard reduction (BA5226-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale