Commissioned by the Nash Ensemble in 2014, String Quintet is one of Maxwell Davies' last works. This intense chamber work is filled with his characteristic harmonies which give the melody and harmony it's ambiguous, continually searching quality. The work is constructed through the gradual accretion of instruments, harmonic richness and ever increasing height and depth in texture. / Quatuor De Cordes

Par OGAWA TAKASHI. / Niveau : Assez Difficile / Contemporain / Date parution : 2004-10-01/ Répertoire / Flûte Traversière Violon, Basson, Violoncelle et G

Hal Leonard Instrumental Play-Along: 12 Smash Hits (violoncelle) est une feuille de musique / CD Pack confiture emballée avec des arrangements solos de 12 smash hits des artistes récents comme Ed Sheeran, Taylor Swift, Bruno Mars et plus encore.Lire la musique de la livre, et de jouer avec l'accompagnement professionnellement enregistré sur le CD, des chansons telles que Skyfall, en direct Pendant que nous sommes jeunes, certains soirs, et bien d'autres. / Violoncelle

For Flute, Clarinet In Bb, Harp, and String Quartet. Par LASH HANNAH. Form and Postlude is a piece in one continuous movement but with a distinct postlude which ends the work. I play throughout with the idea of pacing on many levels: the largest level is the idea of proportion of sections to one another, then harmonic rhythm (in the broad sense), then harmonic rhythm on a more local level, and of course then on the surface of the music there is instrumental texture and how fast the notes go by. Along with this sense of play in terms of the pacing and motion is the idea of color. I love this ensemble, and its palette of color has been part of my DNA, as it were, for many years, because Ravel’s wonderful work Introduction et Allegro is such a cornerstone in the harpist’s repertoire. While composing, I found myself feeling that I was entering into this colorful world that is possible with this combination of instruments, almost as if it were possible to step into a painter’s palette in a real and visceral way, physically interacting with all the different colors. The title Form and Postlude nods to Ravel’s Introduction et Allegro, although my piece lives in its own very distinct space apart from Ravel. – Hannah Lash/ Répertoire / Flûte Traversière, Clarinette, Harpe et Quatuor à

Par MUSASHI PUROJEKUTO. / Date parution : 2022-01-14/ Répertoire / Quatuor à Cordes

Par NIHASHI. for oboe, clarinet, alto saxophone and bassoon/ Répertoire / Hautbois, Clarinette en Sib, Saxophone en Mib et B

Franz Schubert wrote his Arpeggione Sonata for piano and arpeggione, a hybrid instrument that was part guitar, part violoncello and fashionable at that time. Today, the piece has become a standard work for violoncello and piano, an instrumentation chosen for the present edition as well. For the few players of an arpeggione, a solo part is available at www.wiener-urtext.com [1]. The edition follows, for the most part, the text of Schubert's extant autograph. / Violoncelle Et Piano

Par O'LOUGHLIN SEAN (Arr.). This engaging string orchestra medley from the hit television show Stranger Things uses the eerie main theme as bookends framing songs from the 1980s by Journey, Metallica, The Clash, and Kate Bush that feature prominently in the show. Both contemporary and nostalgic, this is sure to be a hit with your students and their parents! / Date parution : 2023-03-11/ Répertoire / String Ensemble

'Originally written for a suite called Silver Poetry, a Suite on Australian Images, for German flautist Christiane Meininger, whose specially designed flute bears that name ('Poesie in Silber?), this short piece was composed on the day I went for a walk in Russell Falls in Tasmania, and I encountered the small pink breasted robin, a rare tiny and very pretty bird. It had such a charming aura about it as well as something very theatrical in the way it just took off in a flash. This piece has something of a circus character.? Elena Kats-Chernin / Quatuor A Cordes

The quartet in a minor is one of the chamber music works with which Schubert wanted to 'pave the way to the great symphony? in spring 1824. At the same time he was paving his way to a wider audience, as the 'Rosamunde? Quartet was the first and only string quartet that was not only publicly performed in Schubert's lifetime but also published in parts. It is fortunate for us that this was the case because the autograph of this much-loved quartet is missing today and the only source for the work is the first edition. And this is precisely where the challenge lies, as the parts exhibit some inaccuracies regarding the articulation and dynamics. They have had to be carefully resolved, something which our new Urtext edition has done in an exemplary fashion. Its name can be traced back to Schubert's incidental music to the play Rosamunde, which can be heard at the beginning of the Andante. Quite a few people might, however, be reminded of the Impromptu in B flat major op. post. 142 #3, in which Schubert later once again took up the beautiful melody. / 2 Violons, Alto Et Violoncelle

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

Arrangements de violoncelle solos de dix hits from le smash film de Disney, chacune avec accompagnement de CD pistes. / Violoncelle

Par BEETHOVEN LUDWIG VAN. Some of Beethoven ’s most enduring and unabashedly successful works stem from his so-called “Middle Period” and in the genre of chamber music, the quartets Op. 74 and 95 together with the recently issued Op. 59 quartets complete this period. Jonathan Del Mar’s scholarly critical edition of quartets Op. 74 and 95 sets the record straight once and for all, restoring Beethoven ’s articulation, dynamics and lengths of slurs as the composer originally intended. The interdependency of the sources and their readings are clearly laid out by Del Mar in his Critical Commentary, which also contains facsimile pages pointing out ambiguities with previouseditions. - Bärenreiter quality Urtext. - Critical Commentary (Eng) with facsimiles. - Study score includes historical introduction (Ger/Eng) by Barry Cooper. - Parts BA9018./ Répertoire / Quatuor à Cordes

Par HILLBORG ANDERS. In his Kongsgaard Variations (2006), Swedish composer Anders Hillborg takes the Arietta-theme from Beethoven's last piano-sonata, #32 in C minor Op. 111 as the basis for an evocative 16-minute string quartet. Beethoven's sublime music drifts strangely through the centuries and is warped, vaporised, and refashioned as if, in the words of Hillborg, the Arietta 'is dreaming yet another variation on itself'./ Répertoire / Quatuor à Cordes