Par CASABLANCAS BENET. The String Quartet no. 4, subtitled 'Dedication', was commissioned by the CNDM of Madrid to celebrate the 250th Anniversary of Beethoven and was written for, and dedicated to, the Cuarteto Casals (2017). This one-movement work,lasting some 11 minutes, is based on a small motif from the op quartet. 130 as a tribute to the German master. The work, that explores the full range of the technical, musical, and emotional scope of the quartet medium, has aternary arrangement, with a slow introduction and a conclusive stretta on the B-flat note (like the one that opens Op. 130). Its course includes marked contrasts between the contemplative, lyrical, static and suspensive sections -in the manner of stagnations - and those with a more lively tempo, playful and occasionally festive./ Répertoire / Quatuor à Cordes

Par CASABLANCAS BENET. Albumblatt für Arriaga, commissioned by the Trio Arriaga and lasting some 7:30 minutes, is the composer's fourth contribution to the classical violin, cello and piano ensemble, for which he has a special esteem. The work was written in homage to the composer Juan Crisóstomo Arriaga, and at the same time as a token of gratitude and admiration for the Trio Arriaga, to whose members the work is dedicated; a double motivation that is reflected in the title of the work. Its course is presided over by a markedly lyrical character that coexists with passages full of energy, rhythmic vivacity and drama. The introduction and epilogue of the work are based on a musical motif derived from the name of the Basque composer (Ju-A-n C-r-I-S-ostomo A-rr-I-A-G-A), made up of the notes A, C, E, Eb, A, E, E, A, G, A, in the manner of a musical acrostic, and from whose nature the harmonic and thematic material of the whole work is largely derived. The premiere of this Trio took place on 5 November 2015 in the Chamber Hall of the Palau de la Música Catalana in Barcelona. / Date parution : 2022-02-03/ Répertoire / Violon, Violoncelle et Piano

a cura di | edited by Italo Vescovo. Par PAGANINI NICCOLO. Nicolò Paganini?s Trio in G major for viola and cello ? the autograph manuscript of which is preserved in the Biblioteca Casanatense in Rome ? represents the only work of the Genoese composer expressly scored for these instruments. In addition to expanding Paganini?s treasured catalogue, its rediscovery could provide scholars with new insights into the famed virtuoso?s chamber music output. / Date parution : 2023-07-31/ Répertoire / Alto et Violoncelle

Par CASABLANCAS BENET. The Seven Haikus, lasting some 8 minutes, were written for the Composers Portrait that closed the author's two-season residency at L’Auditori de Barcelona (2015). The work is inspired by the conciseness and essentiality of theJapanese poetic form, which aspires to capture the epiphanic moment with the immediacy of a calligraphic stroke. The Haikus are compact statements, with an expressive range that belies their miniature timespan. The author conjuresin them a wealth of atmospheres, textures and colors from the ensemble of only six players. For all their reduced scale each piece presents a fully-composed argument. Some are calm, lyrical, others more playful, brilliant andwitty, without excluding the most dramatic or elegiac moods, as in the sixth of the collection, written “In memoriam Maria del Carme Casablancas”./ Répertoire / Flûte, Clarinette, Piano, Violon, Violoncelle et C

Impressions On Beethoven's Harp Quartet. Par AMANTI LUCIO. When Cuarteto Casals approached me with the idea of illuminating Beethoven´s quartets anew, you can imagine the many thoughts and feelings that where going through my mind: what a joy, what a great honor… What an intriguing head-scratcher! How can you possibly shine a new light on something that is already perfect? Weeks, months went by in search of a common ground between the Master and myself until I finally found it in the realization that a word lays “hidden” in the St. John’s hymn that gave musical notes their original name: ‘Re, Sol, Ut, Io’ (D, G, C, B in English music notation) Perfect! “Resolutio” in Latin means both the resolution of a problem and the re-solution: a re-blend of many elements that will eventually coagulate to make something new. There was finally the melodic and a rhythmical canvas for my piece. On this canvas I wrote the story of a funny little contest, played on a sunny Mediterranean square, between street musicians and Cuarteto Casals just minutes before they are about to go on stage to perform Beethoven´s “Harp Quartet”. After all the characters, each in his own way, had the chance to tell their story, a gentle rain starts to fall, dissolving (Re-solving) again the music sheet to eventually leave us with just a white piece of paper for somebody else to continue the Work. (Lucio Franco Amanti) / Niveau : Avancé / Répertoire / 2 Violons, Alto et Violoncelle

Clavecin, Piano Ou Harpe. Par CASADESUS HENRI. Langue: English(US)/Deutsch/Français/Nederlands / Date parution : 1905-06-24/ Répertoire / Alto ou 2 Violes et Piano

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et B.C.

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et Basse Continue

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et B.C.

pour alto and orchestre reconstitution et harmonisation de Henri Casadesus partie soliste avec réduction de l'orchestre