as performed by The Beatles. Par BEATLES THE. When I'm Sixty-Four est l'une des toutes premières compositions de Paul McCartney dans laquelle un jeune homme s'adresse à une jeune fille pour lui promettre un amour éternel. Cette version pour quatuor à cordes est un complément indispensable à votre répertoire et trouvera sans aucun problème sa place dans tous vos prochains programmes. / Niveau : Facile à Intermédiaire / Pop and rock / Répertoire / Quatuor à Cordes

Chaconne. Par LERDAHL FRED. Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music. My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach’s D minor violin partita and the finale of Brahms’s Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern. My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl/ Répertoire / Quatuor à Cordes

Par DVORAK ANTONIN. Dvorák's 'String Quintet in G major” op. 77, had five movements when it was premiered on 18 March 1876. Its second movement was the 'Intermezzo” from his 'String Quartet in E minor” (1870). Later Dvorák removed this movement from the quintet, expanded it, and published it as a separate 'Notturno” for string orchestra op. 40. The 'Intermezzo” is included in its original version in the appendix of the score. This edition is based on the 'Complete Edition of the Works of Antonín Dvorák”, the principal source being the first edition of 1888, for which Dvorák subjected the work to revision. - Dvorák's famous quintet with double bass - New detailed foreword by Dvorák scholar David Beveridge (Eng/Cz/Ger) - Musical text based on the 'Complete Edition of the Works of Antonín Dvorák” (series IV, vol. 8)/ Répertoire / Quatuor à Cordes

String Quartet #3 was written for, and first performed by the Balanescu Quartet, February 1990 at the Queen Elizabeth Hall, London. Duration 16 minutes. A score is available on sale.. Quoting composer: In the summer of 1989 I composed a choral work, Out of the Ruins , for Agnieszka Piotrowska's BBC2 documentary which dealt with the physical and emotional responses of some inhabitants of Leninakhan to the earthquake which devastated Armenia the previous December. When he heard the recording of the work that I made with the Holy Echmiadzin Chorus under the fervent conducting of Khoren Meykhanejian, Alex Balanescu suggested turning Out of the Ruins into a string quartet. There seemed no reason or opportunity to do this until I felt the need to add to the intensity of my experiences in Armenia the no less profound experience of witnessing the images of the Romanian revolution on television during the later part of December 1989. The compositional procedure was as follows: to take Out of the Ruins as a template on which the Romanian vocal or instrumental music would be superimposed, quite often stretched into new intervallic shapes though the demands of the completely performed harmonic structure. / Quatuor A Cordes