All In One for 3 String Quartets was composed by Pelle Gudmundsen-Holmgreen in 2013 (String Quartet No.12 13 and 14 played simultaneously). Gudmundsen-Holmgreen has written a collection of three new string quartets: String Quartet no. 12 ‘Each in Each’; String Quartet no. 13 ‘Mutual Ordering’ and String Quartet no. 14 ‘Well-Tuned Sounds’. Each quartet can be played on its own; they can also played simultaneously in any combination. When all three quartets are played together as they are tonight the combined work is titled All in One. About this collection Gudmundsen-Holmgreenwrites: 'Some years ago Kronos and the vocal group Theatre of Voices performed three new pieces which I had written for the two groups: one for Theatre of Voices (Green) and two for Kronos (New Ground and No Ground). They were played and sung by each group independently – but also both groups together concurrently on top of each other as a final gesture. The combined pieces were called New Ground Green and No Ground Green. 'David liked the idea (and the result) of pairs of quartets that could be played both independently and simultaneously and asked me if the vocal quartet could be transformed into a string quartet. It could not. He then asked me to repeat the whole set-up with a new pair of quartets adding also some percussion instruments as was the case with Green for Theatre of Voices. Of course this was tempting. Furthermore David asked me to make one of the two new quartets a little easier to play. 'I began to work. The Kronos part of the pair of quartets turned out to be tough to play as David puts it. Unfortunately the ‘easier’ one was tough to play also! So I had to write one more which was then a little easier still (but still not easy). 'The three new works can be played separately and on top of each other in many different combinations resulting in different kinds of

Canticle. Par JALBERT PIERRE. Canticle (String Quartet No. 6) was commissioned by the Chiara String Quartet. It consists of seven movements, highly contrasting in character, with movements I and VII serving as similar bookends to the overall arch of the work. The piece opens with the quartet members striking various crotales, producing bell sounds that eventually blend with the string quartet – evoking the title, Canticle. The faster, pulse-oriented music requires the players to use glass rods on their instruments and at one point quickly moves back and forth between alternating rhythmic subdivisions, producing extremely rapid metric modulations. The last movement blends the string quartet with the bowing of the crotales to produce an ethereal, other-worldly finale to the canticle. Pierre Jalbert / Niveau : Avancé / Répertoire / Quatuor à Cordes

A selection of folk ballads from England Ireland Scotland and Wales.A ballad is the blending of words the beauty of melody tone rhythm and expression. They reflect the history of a people their legends religion love and work. British ballads are renouned for their verse melodic construction and for the enormous range of expression.1 The Lass of Richmond Hill is a poem by Leonard McNally a barrister about a lass who became his wife in 1787. The music is by James Hook (1746 1827).2 Sally in our Alley. The words are by Henry Carey who also wrote the original music but this was replaced by the tune we now know an English traditionalmelody in 1790.3 Caller Herrin'. The poem is by Lady Nairne (1766 1845). Nathaniel Gow the famous Scottish violinist wrote the music in 1798 as a harpsichord piece combining the traditional Edinburgh fish wives cry Caller Herrin' with the bells of St Andrew's Church Edinburgh.4 Men of Harlech. The music is traditionally Welsh and the ballad probably originated from North Wales where the native princes had ruled the longest.5 David of the White Rock (Dafydd y Garres Wen). Sir Walter Scott (1771-1832) wrote the words to this ballad The Dying Bard. David Owen the Welsh bard of the ballad composed the tune on his death-bed on awakening from a trance in which be believed himself to have heard the tune in heaven.6 Oft in the Stilly Night. The words describe an old man's memories of the smiles the tears of boyhood years. The eyes that shone now dimmed and gone and how oft in the stilly night he remembers other days. The ballad is by the Irish poet Thomas Moore (1779 1852) who set the words to a traditional air.7- The Meeting of the Waters. Written by Thomas Moore music Irish traditional.The Meeting of the Waters is the confluence of the rivers Avonmore and Avonberg in a beautiful valley near Avoca County Wicklow.8 Oh! Charlie is my Darlin'. The

for String Quartet. Par STREICH LISA. / Date parution : 2023-06-01/ Répertoire / Quatuor à Cordes

Programme Note During the composition of my tenth string quartet a flower-name høst-tidløs came to my mind - and it would not me leave again. [høsttidløs is actually autumn crocus in English but the composer prefers harvest-timeless to maintain some of the associations of the Danish flower-name red.] The paradoxical union of a seasonal time (harvest) and no-time-at-all was a good fit to the sections of the work that I had composed at that time and I decided to tentatively stick to that title for the work-in-progress and now having finished the piece I can say that is is still a fitting title - and it stands. Enough about the title I will go onto describe the music a somewhat more precarious project. My tenth string quartet is probably the most basic string quartet that I have composed; melodically - and in sound - it employs the naturally based overtones and undertones* (perceived at major and minor respectively) and rhythmically it is based on growth on the principles of the Golden Section and the structure itself contrasts abundance and exuberance with sections of immobility and contemplation. However Melos melody is definitely the dominating aspect of my STRING QUARTET NO. 10; behind even the most rhythmically complex or pure sonoric sections lies a firm - if hidden - basis of melodic or polyphonic ideas. The work was composed in 2004-2005 for the Kroger Quartet.

Programme Note During the composition of my tenth string quartet a flower-name høst-tidløs came to my mind - and it would not me leave again. [høsttidløs is actually autumn crocus in English but the composer prefers harvest-timeless to maintain some of the associations of the Danish flower-name red.] The paradoxical union of a seasonal time (harvest) and no-time-at-all was a good fit to the sections of the work that I had composed at that time and I decided to tentatively stick to that title for the work-in-progress and now having finished the piece I can say that is is still a fitting title - and it stands. Enough about the title I will go onto describe the music a somewhat more precarious project. My tenth string quartet is probably the most basic string quartet that I have composed; melodically - and in sound - it employs the naturally based overtones and undertones* (perceived at major and minor respectively) and rhythmically it is based on growth on the principles of the Golden Section and the structure itself contrasts abundance and exuberance with sections of immobility and contemplation. However Melos melody is definitely the dominating aspect of my STRING QUARTET NO. 10; behind even the most rhythmically complex or pure sonoric sections lies a firm - if hidden - basis of melodic or polyphonic ideas. The work was composed in 2004-2005 for the Kroger Quartet.