Richard Reed Parry's Quartet For Heart And Breath is an innovative and original piece based on the performers' own bodily rhythms. This sheet music is for String Quartet (Violin/Violin/Viola/Cello).Richard Reed Parry is familiar to millions as the lead singer of rock band Arcade Fire, yet his foray into classical music is equally worthy of attention. Quartet For Heart And Breath is an experiment into using the performers' heartbeats and breathing to dictate the tempo. The performers are instructed to wear stethoscopes in order to listen to their heartbeats closely, while one complete breath corresponds to one bar and two heartbeats equal two crotchets.The result is a quiet and subtle piece, as each instrument has to play softly so as to be able to keep in time. The piece also has a naturally occurring dynamism in that the players' heart rates constantly change as the performance goes on, with each instrument falling in and out of sync sometimes culminating in a beautiful moment of all heartbeats matching each other. Interestingly, this unique aspect means that no performance will ever be the same, meaning to hear or play this composition will be a truly once in a lifetime experience.Quartet For Heart And Breath is a superbly one-of-a-kind composition by Richard Reed Parry. Commissioned by the Kronos Quartet, this piece makes for a wonderfully distinctive performance, with fascinating implications for the connection between the music and the body. / Quatuor A 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

a cura di Federico Maria Sardelli. Par VIVALDI ANTONIO. Among Vivaldi’s many flute and recorder concertos, two, both for transverse flute, were known until a few years ago only in incomplete form: RV 431 and 432. Both are written in the comfortable and expressive key of E minor, are transmitted inautograph manuscripts and lack their second movement (RV 432 also lacks its third movement). The seemingly enigmatic instruction “Grave sopra il libro” replacing the second movement has given rise to the most fanciful hypotheses. The discovery in Edinburgh, in 2010, of a concerto for transverse flute in D minor entitled “Il gran Mogol” suddenly shed light on the situation: this was an earlier version of RV 431, now complete with its middle movement, a “Larghetto” that is verypossibly identical with the one missing in RV 431. This “Gran Mogol”, which belonged to Robert Kerr, a Scottish nobleman and amateur flautist, was already known by name to scholars on account of its listing in an eighteenth-century catalogue as partof a set of Vivaldi concertos bearing geographical titles: more recently, there has come to light a letter written by Vivaldi three months before his death in which the composer describes this set in detail. It is very likely that RV 431 and RV 432belonged to this group of works, the last known collection of its kind in Vivaldi’s oeuvre. This critical edition places these closely related works side by side for the first time, placing them in their historical context and making them performable through its reconstruction of some lost parts. / Niveau : Intermédiaire / Date parution : 1905-07-09/ Répertoire / Flûte Traversière Cordes et Basse Continue

for piano and woodwind quintet. Par JALBERT PIERRE. Wind Dances is in seven short contrasting movements, each containing dance-like rhythms, both slow and fast. Having two sons who both play the clarinet, I've heard many a woodwind quintet, so I've been wanting to write for the medium for quite a while. In this instance, I also added my own instrument, the piano. The work opens with a fast movement containing driving rhythms in the winds, which are then answered by the piano. The second movement features colorful effects in the winds and piano (slap tongue, air sounds, muted tones) leading to a long extended lyrical line, gradually orchestrated to involve all the winds. The third movement is a dynamic scherzo, with a separate middle section similar to a traditional Trio section. The slowly unfolding fourth movement is the longest of the piece and anchors the middle of the work. The fifth movement is a kind of echo of the third movement, though this time the dynamic scherzo is high and light, rather than low and dark. The sixth movement is related to the second movement, and is basically a solo cadenza for the clarinet, with a few accompanimental gestures in the piano. The seventh and final movement reprises material from the first movement, this time with new and driving dance-like gestures added. - Pierre Jalbert / Niveau : Avancé / Répertoire / Flûte Traversière (Piccolo), Hautbois, Clarinette,

For Flute, Clarinet In Bb, and Piano. Par JALBERT PIERRE. Triple Set was commissioned by the Flute/Clarinet Duos Consortium, an organization of 17 groups which will give the premiere performances of the work. I’ve always been fascinated by the flute and clarinet, and when I was approached by my colleagues at Rice (Leone Buyse and Michael Webster) to write a piece for flute, clarinet and piano (I’m a pianist myself), for the Flute/Clarinet Duos Consortium, I was happy to oblige. Both of my sons also play the clarinet, so many of these sounds are around me all the time. The piece is in three contrasting movements. The first movement, Driving, marked “With great energy”, is rhythmically propelled forward by the piano’s muted strings and the flute and clarinet playing at first in rhythmic unison, then each taking a turn at solos while the other participates in the accompanimental syncopations. The second movement, Still, is marked “Timeless” and slowly unfolds its melodic and harmonic ideas. The third movement, Relentless, is a kind of 6/8 scherzo, which vigorously and relentlessly propels itself forward to the end, with just two minor interruptions of quasi-cadenza like passages for flute and clarinet duo. - Pierre Jalbert/ Répertoire / Flûte Traversière, Clarinette et Piano

Arrangements de facile a moyen concu pour faire ressortir lesqualites remarquable du violoncelle. Ce qui comprend les chansons folk, les dances et le travails par Debussy, Chopin et Brahms. Partition de violoncelle a part. / Violoncelle Et Piano / 160 pages / Partition