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Chamber Music with String Instruments

Chamber music lovers will be thrilled about this special offer: Beethoven’s complete music for string instruments and mixed wind/string ensembles is now available in a slipcase with 13 study editions. The collection spans from small occasional pieces for string duos, to that central genre for Beethoven, the string quartet, with the immeasurable, boundless Grosse Fuge op. 133, to the famous early Septet op. 20, one of the most popular works for larger chamber ensemble. All study editions follow the musical text from the Beethoven Complete Edition and contain an informative preface and a short Critical Report with information on the sources and the most important readings foreach work.  

String Quartets Volume II

After Volumes IV and III of the series with Mozart’s complete string quartets appeared as Henle Urtext editions in early 2017 and 2019 respectively, Mozart expert Wolf-Dieter Seiffert now presents Volume II – in full score and individual parts. Included are the “Early Viennese Quartets” from 1773, K. 168–173. Entries in the autograph manuscript by the composer’s father Leopold, however, suggest that the ordering of the six works into a unified series of quartets was his doing. In his preface, Wolf-Dieter Seiffert shares brand-new findings on the actual chronology of the genesis of these quartets. Moreover, he succeeds in correcting what in prior editions were occasionalinaccuracies in dynamics and articulation, thereby producing a new, assured musical text. With artistic input from the Armida Quartet, Volume II of the String Quartets also sets the benchmark in the Mozart Edition! After Volumes IV and III of the series with Mozart’s complete string quartets appeared as Henle Urtext editions in early 2017 and 2019 respectively, Mozart expert Wolf-Dieter Seiffert now presents Volume II – in full score and individual parts. Included are the “Early Viennese Quartets” from 1773, K. 168–173. Entries in the autograph manuscript by the composer’s father Leopold, however, suggest that the ordering of the six works into a unified series of quartets was his doing. In his preface, Wolf-Dieter Seiffert shares brand-new findings on the actual chronology of the genesis of these quartets. Moreover, he succeeds in correcting what in prior editions were occasionalinaccuracies in dynamics and articulation, thereby producing a new, assured musical text. With artistic input from the Armida Quartet, Volume II of the String Quartets also sets the benchmark in the Mozart Edition!

String Quartets Volume II

After Volumes IV and III of the series with Mozart’s complete string quartets appeared as Henle Urtext editions in early 2017 and 2019 respectively, Mozart expert Wolf-Dieter Seiffert now presents Volume II – in full score and individual parts. Included are the “Early Viennese Quartets” from 1773, K. 168–173. Entries in the autograph manuscript by the composer’s father Leopold, however, suggest that the ordering of the six works into a unified series of quartets was his doing. In his preface, Wolf-Dieter Seiffert shares brand-new findings on the actual chronology of the genesis of these quartets. Moreover, he succeeds in correcting what in prior editions were occasionalinaccuracies in dynamics and articulation, thereby producing a new, assured musical text. With artistic input from the Armida Quartet, Volume II of the String Quartets also sets the benchmark in the Mozart Edition! After Volumes IV and III of the series with Mozart’s complete string quartets appeared as Henle Urtext editions in early 2017 and 2019 respectively, Mozart expert Wolf-Dieter Seiffert now presents Volume II – in full score and individual parts. Included are the “Early Viennese Quartets” from 1773, K. 168–173. Entries in the autograph manuscript by the composer’s father Leopold, however, suggest that the ordering of the six works into a unified series of quartets was his doing. In his preface, Wolf-Dieter Seiffert shares brand-new findings on the actual chronology of the genesis of these quartets. Moreover, he succeeds in correcting what in prior editions were occasionalinaccuracies in dynamics and articulation, thereby producing a new, assured musical text. With artistic input from the Armida Quartet, Volume II of the String Quartets also sets the benchmark in the Mozart Edition!

String Quartet Op. 3

Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet. Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet.

String Quartet Op. 3

Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet. Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet.

String Quartet

String Quartet

Franz Joseph Haydn: String Quartets Op.77 And Op.103 (Urtext Edition)

These are the last of the nearly seventy quartets in Haydn ’s oeuvre. Originally he intended to write a set of six quartets, as so often in the past, but at the time they were written, in 1803, Haydn ’s health was so poor that he could not fully satisfy the commission from Prince Lobkowitz. Instead he published only two complete quartets as op. 77. Later he allowed an incomplete work consisting of two middle movements to appear as op. 103, adding to the print the portentous words: “Gone is all my strength, old and weak am I”. Musically, however, these quartets are anything but weak: they represent the aged composer virtually at the zenith of his powers. Haydn even went so far as to call op. 77, no. 2, his “most beautiful string quartet”.

Johannes Brahms - Complete Works : Series 2: Chamber Music Vol. 2

Contents: String Quintet no. 1 F major op. 88 String Quintet no. 2 G major op. 111 Clarinet Quintet for Clarinet, 2 Violins, Viola and Violoncello b minor op. 115

String Quartet No. 6

String Quartet No. 5

String Quartet No. 6

String Quartet No. 1 Op. 7

String Quartet No. 2 Op. 17

String Quartet No. 2 Op. 17

String Quartet No. 1 Op. 7

Joseph Haydn: Streichquartette Op.42/50 (String Quartet)

Joseph Haydn: Stråkkvartetter Op. 42 & Op. 50 – Klassiska Mästerverk för Stråkkvartett Utforska den klassiska musikens rika arv med Joseph Haydns Stråkkvartetter Op. 42 & Op. 50. Dessa verk är några av de bästa exemplen på stråkkvartettgenren och visar Haydns enastående förmåga att skapa balanserade och harmoniskt rika kompositioner. Perfekt för framträdanden och studier. Specifikationer: Kompositör: Joseph Haydn Innehåll: Stråkkvartetter Op. 42 och Op. 50 (Hela samlingen eller utvalda satser) Instrumentering: 2 fioler, altfiol och cello Svårighetsgrad: Medel till avancerad Format: Notbok med partitur och stämmor Förlag: [Ange förlag] Haydns kvartetter är kända för sin melodiska skönhet, harmoniska komplexitet och subtila humor. Denna samling är perfekt för ensembler som vill utmana sig själva och samtidigt njuta av musiken från en av den klassiska periodens mest inflytelserika kompositörer.

Souvenir d'un lieu cher op. 42 : with marked and unmarked string part

“Memory of a dear place” is the title given to this collection of three enchanting pieces for violin and piano. The “place” in question was the country estate of Brailov that belonged to Tchaikovsky’s patron and friend Nadezhda von Meck. He stayed there in idyllic seclusion in May 1878 and completed this work. These pieces were composed very close in time to his Violin Concerto, and they too demonstrate Tchaikovsky’s matchless gifts as a Romantic master of melody. For this edition, the Russian Tchaikovsky specialist Alexander Komarov offers the highest degree of editorial precision, having drawn on all the relevant sources from both Russian and international archives. In thecourse of his work he has also been able to disprove beyond a doubt the view held up to now that the title Souvenir d’un lieu cher was only added after Tchaikovsky’s death.