*PIANO QUARTET op.179 (January 1974)


Concert work in four movements
Published by: Highbridge Music Ltd
Commissioned by: Jack Rothstein
Instrumentation: violin, viola, cello and piano
[Key to Abbreviations]
Duration: 27:7
First Performance: Purcell Room June 1975  Jack Rothstein (vn), Kenneth Essex (va) Peter Willison (vc), Howard Blake (pno).
Sheet Music Available
Instrumental / piano score for sale
Instrumental parts for sale
Recordings Available
Music for piano and strings
Released: 28th October 2008
Recorded: 24th May 2008
Artists: Sonata for violin and piano, Jazz Dances, Pennillion: Madeleine Mitchell (violin) Howard Blake (piano) Recorded Potton Hall, May 24-25, July 13 2008. The CD includes an archive recording of the Piano Quartet performed by Jack Rothstein (violin), Kenneth Essex (viola), Peter Willison (cello) and Howard Blake(piano), recorded at the Conway Hall, October 1974
Available from: Amazon UK Naxos Records

Piano Quartet in A Minor
Released: 1975
Recorded: 1975
Artists: Jack Rothstein (violin), Kenneth Essex (viola), Peter Willison (cello), Howard Blake (piano)
Available from: Highbridge Music

Released by NAXOS using the recording made by the original performers on 28th October 2008. Album HOWARD BLAKE: MUSIC FOR PIANO & STRINGS naxos 8.572083 naxos www.naxos.com

Movements

  • 1: Allegro con anima 7 minutes 15 seconds

    A dramatic theme A (and in A minor) is presented by unison violin and viola over a pounding rhythm that would be equally at home in rock. A second theme B is equally rhythmic on contrapuntal strings over hammering piano semiquavers but subsides into a lyrical C minor piano version of A against legato strings. This subsides further again into a Theme C (and in C major) announced by the cello. It is spread across the three strings against piano chords gradually dying down to a held F sharp unison. This kicks off the development by taking us back to the first tempo but this time featuring theme B with running semiquavers which build and build until a pedal pulls us back into a full-bodied return of our home theme A on full strings and rocking piano chords.

  • 2: Presto 5 minutes 23 seconds
    Scherzo

    A very fast tempo allows all instruments to fly through a Scherzo of heavily-syncopated rhythms and riotous escapades. It follows the scherzo form with a trio featuring predominantly piano against pizzicato cello, but they yield to questioning phrases on violin and viola before recapping to the scherzo and a noisy coda.

  • 3: Lento espressivo 7 minutes 39 seconds

    3. Lento espressivo
    The deeply reflective E major slow movement of the Piano Quartet has always been particularly dear to me. I wrote it one beautiful Spring afternoon in 1974 at Highbridge Mill, with sun streaming through the window and total silence. It begins with a major third repeated on the piano acting as a bell-like accompaniment to three statements of a four-note rising phrase, firstly started by violin, secondly by viola and thirdly by cello. The piano weaves intricate patterns around them until the four notes echo again in a diminuendo of violin, viola and cello to a close.

  • 4: Allegro robusto 6 minutes 50 seconds

    4.Allegro robusto

    The fourth movement is pure sixties. A jig-like rhythmic theme A is presented in 3-part string canon in several transpositions against vibrant 'rock 'n roll' chording. A second theme B on the dominant is presented on the viola against rising minims. Theme A returns in a piano solo doubling at the 16th but stops abruptly to reveal very quiet slow piano chords. Against them is placed a mysterious theme C which builds to a surprisingly large climax. It does this again in a different key but at the height of the climax this time hurls us back into theme B. Cello begins a strict fugue which is joined by viola, violin and piano building into a powerful stretto which bursts straight back into the 3-part contrapuntal jig of the beginning and a unison accelerando coda.

Notes

The opening of the first movement is used as a signature theme by KUSC, the audience-supported classical music radio station of the University of Southern California. Its composer is delighted and honoured by this.

Performances

30th May 2020 The Velox Quartet: Nicholas Hatt (violin), Jacob Clewell (viola), Jordan Galvarino (cello), Sasha Bult-Ito (piano)., Emerald Coast Chamber Music Festival, Tyler Recital Hall, Niceville, Florida
9th September 2018 Solo pianist for performance of 'Speech after long silence' Florian Koltun ; Players for duo , piano trio and piano quartet - Wolfgang Schroeder (violin), Karolina Herrera(viola), Benedict Kloeckner (cello), Xin Wang(piano), Der Alten Kirche, Spay (nr. Coblenz) 17.00 pm 5th International Music Festival, Coblenz, September 9th 2018

COBLENZ INTERNATIONAL MUSIC FESTIVAL PRESENT A PROGRAMME OF MUSIC BY HOWARD BLAKE TO CELEBRATE HIS 80th YEAR. Der Alten Kirche, Spay, Coblenz, September 9th., 2018 at 17.00 pm

1. SPEECH AFTER LONG SILENCE for solo piano, a piece commissioned by Vladimir Ashkenazy for the Hong Kong International Piano Competition 2011 (Opus 610) solo piano: Florian Koltun

'Unlike most new works, whose fate is to be played on multiple occasions ad nauseam at a competition and then shelved for eternity thereafter, this one promises to be heard rather often. Blake’s partiality for tonality and emotional connection (unsurprising for the composer of the children’s favourite The Snowman) makes this a most accessible work. At about 8 minutes, its Romantic gestures replete with lush harmonies and crashing chords resemble an updated and extended version of one of Rachmaninov’s Etudes-tableaux'  Chang Tou Lang,     

2. ‘DIVERSIONS FOR CELLO AND PIANO’, the work that in 2010 won Benedict Kloeckner the European Broadcasting Union first prize (Opus 337A) Piano Howard Blake, Cello Benedict Kloeckner

1: Prelude (moderato)  2: Scherzo (vivace)  3: March (tempo di marcia) 4: Waltz (vivo)  5: Aria (andante espressivo)  6: Serenade (allegretto)  7: Sarabande (lento non troppo) 8: Finale (vivo)  minutes 27 seconds

‘Diversions’ was originally conceived as a suite for cello and piano as far back as 1973. In 1984 the great French cellist Maurice Gendron encouraged the composer to rework the piece for cello and orchestra, and he himself edited the cello part. The first performance of the work in this orchestral form was given by Steven Isserlis and The Royal Philharmonic Orchestra conducted by Sir Charles Groves at The Fairfield Halls Croydon on 29th March 1989. This transcription for cello and piano was made by the composer at about the same time

 The work pays mischievous homage to instrumental suites of the past. The Scherzo is not quite a scherzo, the March more than a march. The Waltz has a wrong-stepping jazz tinge to it, the Aria a sudden profundity. The Serenade bursts into arrogant display, the guitar-like Sarabande becomes an eloquent cadenza. We are led back to the theme of the Prelude via a Finale of such bristling virtuosic energy that its simple melodic line assumes a far more complex character – having been well and truly ‘diverted’.Diversions' is also the name of an album of music by Howard Blake for cello and piano played by Benedict Kloeckner and the composer, released in 2015 by the Leipzig label Genuin. ’Benedict Kloeckner plays the cello music of Howard Blake, with the composer himself accompanying - unfailingly attractive and often tremendous fun for both performers and lsiteners., THE STRAD, 2/2018


3. PIANO TRIO NO. 3 ‘ELEGIA STRAVAGANTE’ (Opus 654) a trio in 7 linked movements, first performed at the Coblenz International Music Festival 2013 Violin Wolfgang Schroeder, Cello Benedict Kloeckner, Piano Howard Blake


Movements

  • 1: Andante (rapsodico) (October 2013)

Composer's notes: On the afternoon of my birthday I went to sleep for a short while and dreamed up a septuplet 'trill-flourish' motif in C major and an ensuing 'upward-sweeping' melodic fragment of a minor 2nd and major 7th, both of which I immediately wrote down. This was to be the material on which the trio was based.

  • 2: Scherzo malizioso

I was searching for a 6/8 allegro idea and worked at several until I suddenly remembered the 'jazz fugue' from 'Movement for orchestra' which I'd written way back in about 1963. It seemed to fit perfectly and work most effectively for piano trio, forming a perfect link between the Andante (rapsodico) and the next section Tragico.

  • 3: Tragico

Tragico begins with the upward-sweeping motif, but now very slow and sad. This forms a bridge and modulation to E-minor where the cello enunciates the theme 'Parting', a fragment I had dreamt up whilst preparing the repertoire for Vladimir Ashkenazy's album of my piano works in June 2013. Here the 'Parting' theme develops greatly, leading quite rapidly and unexpectedly to a colossal climax, then falling down to a paused low chord of C major which begins section 4.

  • 4: Grave, molto espressivo

Grave molto espressivo is a deeply-felt cadenza for violin and cello which then starts to accelerate (piu mosso) towards section 5

  • 5: Allegro furioso

Cello and violin play in unison at the 16th against a constantly turning piano phrase using the ever-present 'trill-flourish' motif. Martial and tragic hints and twists are now overcome by massive upward scalic movements seeking a major key and suddenly triumphantly asserting that of E major.

  • 6: Giojoso, estatico

Giojoso, ecstatico transforms and inverts the minor 'upward-sweeping' theme into a major 'hymn of triumph' punctuated with huge piano chords. The energy of this is so great however that it must inevitably sink down to regain stability and a hardly-moving harmonic 'thirds duplet' grows gradually quieter and slower until it sinks away to nothing without resolution.

  • 7: Andante, come prima (January 2014)

The music of the opening returns but this time in the key to which the piece has ascended - E major, the final bar picking up the 'trill-flourish' motif and giving the whole work a resolution with a very short coda on violin and cello sounding alone - yet perhaps finally together. The piano is wise enough not to interfere

 

4. PIANO QUARTET (Opus 179) Xin Wang (piano), Wolfgang Schroeder (violin), Karolina Herrera (viola), Benedict Kloeckner (cello)

  • 1: Allegro con anima 7 minutes 15 seconds

A dramatic theme A (and in A minor) is presented by unison violin and viola over a pounding rhythm that would be equally at home in rock. A second theme B is equally rhythmic on contrapuntal strings over hammering piano semiquavers but subsides into a lyrical C minor piano version of A against legato strings. This subsides further again into a Theme C (and in C major) announced by the cello. It is spread across the three strings against piano chords gradually dying down to a held F sharp unison. This kicks off the development by taking us back to the first tempo but this time featuring theme B with running semiquavers which build and build until a pedal pulls us back into a full-bodied return of our home theme A on full strings and rocking piano chords.

  • 2: Presto 5 minutes 23 seconds
    Scherzo

A very fast tempo allows all instruments to fly through a Scherzo of heavily-syncopated rhythms and riotous escapades. It follows the scherzo form with a trio featuring predominantly piano against pizzicato cello, but they yield to questioning phrases on violin and viola before recapping to the scherzo and a noisy coda.

  • 3: Lento espressivo 7 minutes 39 seconds

3. Lento espressivo
The deeply reflective E major slow movement of the Piano Quartet has always been particularly dear to me. I wrote it one beautiful Spring afternoon in 1974 at Highbridge Mill, with sun streaming through the window and total silence. It begins with a major third repeated on the piano acting as a bell-like accompaniment to three statements of a four-note rising phrase, firstly started by violin, secondly by viola and thirdly by cello. The piano weaves intricate patterns around them until the four notes echo again in a diminuendo of violin, viola and cello to a close.

  • 4: Allegro robusto 6 minutes 50 seconds

4.Allegro robusto

The fourth movement is pure sixties. A jig-like rhythmic theme A is presented in 3-part string canon in several transpositions against vibrant 'rock 'n roll' chording. A second theme B on the dominant is presented on the viola against rising minims. Theme A returns in a piano solo doubling at the 16th but stops abruptly to reveal very quiet slow piano chords. Against them is placed a mysterious theme C which builds to a surprisingly large climax. It does this again in a different key but at the height of the climax this time hurls us back into theme B. Cello begins a strict fugue which is joined by viola, violin and piano building into a powerful stretto which bursts straight back into the 3-part contrapuntal jig of the beginning and a unison accelerando coda.

Notes

The opening of the first movement is used as a signature theme by KUSC, the audience-supported classical music radio station of the University of Southern California. Its composer is delighted and honoured by this

 

14th May 2016
- 7th February 2018
Full-evening ballet 'Eine Frau Ohne Namen' (A woman without a name) has music by Howard Blake, the score consisting entirely of excerpts from his choral and orchestral works, particularly the oratorio 'Benedictus' (opus 282) Ballet choreographed and directed by Robert North., First performance Monnchen Gladbach Opera 14th May 2016 Final performance Krefeld Opera 7th February 2018
17th April 2015 Madeleine Mitchell (violin), Rivka Golani(viola), Benedict Kloeckner (cello), Sasha Grynyuk (piano), Milton Court, The Barbican, London Concert arranged by Lisa Peacock
12th February 2015 Naxos cd, KUSC Alan Chapman 12.13pm
6th December 2014 The Goldfield Ensemble,

The event given in this splendidly-refurbished Arts Centre near Cambridge began with an interview conducted by Christine Talbot Cooper in which Howard at some points illustrated his music at the piano, giving a complete performance of 'Impromptu' from 'Lifecycle'. The Goldfield Ensemble then played his 'String Trio' and 'Piano Quartet' and after an interval the first performance of an arrangement of his 'Sleepwalking' for clarinet, cello and piano was followed by Mozart's clarinet quintet with Kate Romano clarinet, Toby Turton cello and Richard Utley piano.

5th December 2014
- 7th December 2014
Goldfield Ensemble, St Andrews Church, Stapleford, Cambridge

Other events and works tba0179

4th December 2014 Howard Blake piano, Madeleine Mitchell violin, Rosalind Ventris, viola, Peter Adams cello, Gloucester Music Society
13th July 2014 Blake, Rothstein, Essex, Willison, KUSC broadcast Classical music with Gail Eichental 4.31pm Southern California public radio station featuring classical music 24 hours a day.
30th July 2013 Howard Blake piano, Jack Rothstein violin, Kenneth Essex viola, Peter Willison cello, Played on KUSC presented by Alan Chapman 12.08pm Southern California public radio station featuring classical music 24 hours a day.

Naxos 572083

14th July 2013 iPalpiti Festival of International Laureates David Kaplan, piano /Davide de Askaniis, violin /Victor de Almeida, viola /Jacob Shaw, cello, Encinitas Library, 540 Cornish Drive, CA, USA. 2.00pm

Blake's Piano Quartet has become known in California since it acts as a signature theme for KUSC, the University of Southern California's Classical Radio Station

3rd September 2012 Howard Blake, Jack Rothstein, Kenneth Essex, Peter Willison, KUSC - the classical music channel of University of Southern California USA. Presented by Alan Chapman

KUSC use the opening of the piano quartet as a signature theme.

19th November 2003 The Schubert Ensemble, Wigmore Hall
21st July 1987 Medici Quartet, Howard Blake, Chester Festival
6th July 1987 The Medici string quartet and Howard Blake, Leighton House, Kensington
June 1975 Jack Rothstein / Kenneth Essex / Peter Willison / Howard Blake, Purcell Room, London

Reviews


"Eine Frau ohne Namen" - ein Ballett von Robert North mit Musik von Howard Blake.

Das Leben einer Frau von ihrer Geburt bis zum Tod ist Thema eines neuen Ballettabends von Robert North. Im Theater Mönchengladbach wurde die Uraufführung dieses Werkes vom Publikum begeistert gefeiert. Dass der Abend zutiefst berührt ist neben der eindrucksvollen Choreografie vor allem der Musik zu verdanken. In enger Zusammenarbeit mit dem Ballettdirektor hat der britische Komponist Howard Blake verschiedene Teile aus seinen Werken zu einem faszinierenden Klangteppich zusammengefügt. Neben großem Orchester mit ausgedehnten Streichersoli kommt im letzten Teil auch ein Chor zum Einsatz.

Der Abend beginnt musikalisch mit einem Sopransolo (Sophie Witte), das sich von zarten Tönen zu ausdrucksvollem Gesang steigert. Die Sängerin steht am linken Bühnenrand und begleitet gemeinsam mit den Streichern der Niederrheinischen Sinfoniker den Prolog. Vor einem roten Hintergrund, auf dem als Sinnbild des Lebens eine Kreisform zu erkennen ist, erwachen die Tänzer zum Leben. Sieben Männer und Frauen, in schlichte graue Trikots gekleidet, tanzen gemeinsam, dann in Gruppen getrennt und schließlich wieder zusammen. In einer für North charakteristischen klaren Ausdrucksform, in der sich stets klassische und moderne Elemente des Tanzes mischen, wird vom Ursprung des Lebens erzählt. Männliche und weibliche Gene ziehen sich an, vereinigen sich, Leben entsteht.

Wo Leben ist, ist auch der Tod. Farbe und Licht wechseln in tiefes Blau und in einer kurzen Sequenz wird der Tod einer männlichen Figur betrauert. Am Ende des Prologs erscheint ein kleines Mädchen aus einem Tunnel heraus, den die Tänzer gebildet haben. Mit seinen Eltern läuft es im Kreis, ein größeres Mädchen wir eingewechselt, schließlich richtet sich eine in Rot gekleidete Frau (Karine Andrei-Sutter) im Zentrum der Bühne auf. Sie ist von einem schwebenden Metallkreis umgeben, der im Verlauf des Stücks noch eine wichtige Rolle spielen wird. Das Leben der Frau beginnt. Sie ist als allgemeines Sinnbild zu verstehen und bleibt daher namenlos. Auch bei den weiteren Figuren wird auf individuelle Namen verzichtet.

Da sind zwei Freunde (Takashi Kondo und Guiseppe Lazarra), die sie durchs Leben begleiten, eine Freundin (Elisa Rossignoli) taucht auf, die später zur erbitterten Rivalin wird. Vertrauensvoll und von einer zurückhaltenden Zuneigung ist die Beziehung zu dem Jugendfreund (Raphael Peter) gekennzeichnet, heftige Leidenschaft charakterisiert die Begegnung mit dem ersten Ehemann (Alessandro Borghesani). Kinder werden geboren und bald verlässt er sie wegen der Freundin. Eine banale alltägliche Geschichte, die allerdings sehr dicht und emotional erzählt wird. Das Bühnenbild bleibt bis auf wenige Farb-und Lichtwechsel abstrakt, die Kostüme sind der heutigen Zeit angepasst (Ausstattung Udo Hesse).

Zwei Sätze aus Howard Blakes Violinkonzert bieten den perfekten musikalischen Rahmen dazu. Unter der Leitung ihres Kapellmeisters Alexander Steinitz spielen die Niederrheinischen Sinfoniker hoch konzentriert und engagiert. Im hoch emotionalen Violinsolo (Philipp Wenger) spiegeln sich die Qualen der verlassenen Frau wider. Innerhalb des Metallkreises agiert sie wie eine Gefangene, die keinen Ausweg findet. Nicht nur in dieser Szene beeindruckt Karine Andrei-Sutter mit ihrer feinnervigen und zugleich so intensiven Körpersprache. Die langjährige Solistin des Ballettensembles feiert mit dieser Rolle, in der sie alle Facetten zeigen kann, einen glanzvollen Abschied von der Bühne. Aus der Krise führt der Weg zur Kunst. Gegen Ende des ersten Teils wird die Frau eine gefeierte Schriftstellerin, der Jugendfreund zum zweiten Ehemann. Der erste Mann und die Freundin tauchen als schmerzhafte Erinnerungen immer wieder auf. Der zweite Teil zeigt die Frau bereits am Ende ihres Lebens.

Der Dynamik des Lebens folgt eine eher elegische und versöhnliche Stimmung. Jetzt mit grauem Haar bekräftigt das Ehepaar im Tanz noch einmal seine Zuneigung, gibt es auch die Aussöhnung mit der Freundin. Der Tod erfolgt plötzlich am Schreibtisch, was den Abend aber noch nicht beendet. Denn in einem an den Prolog anknüpfenden Schlussteil wird der Übergang vom physischen Tod in ein anderes Leben thematisiert. Robert North’ Überlegungen sind hier eindeutig vom christlichen Abendland geprägt. Nach einem Zwischenzustand in Leere und Dunkelheit begleitet ein Engel (Viktoria Hays) die Frau in eine andere Sphäre. Die reduzierte Architektur eines Gewölbes mit Empore sowie die in Pastelltönen gehaltenen, schlichten Kostüme lassen an Renaissancebilder denken. Darauf abgestimmt ist auch die Musik, die mit einem wunderbaren Viola-Solo (Albert Hametoff) beginnt und dann Teile aus Blakes Oratorium „Benedictus“ verwendet. Der lateinische Gesang des gemischten Chores (Einstudierung Maria Benyumova) verbreitet eine feierlich-sakrale Atmosphäre, zu der die wieder sehr dynamische Choreografie einen spannenden Kontrast bietet. Mit Drehungen und Sprüngen und in unterschiedlichen Konstellationen scharen sich achtzehn Tänzerinnen und Tänzer als Himmelswesen um die jetzt weiß gekleidete Frau, die schließlich Teil von ihnen wird.

Die einfache Geschichte bekommt so einen überzeitlichen Charakter, Musik und Tanz verschmelzen zu einen eindrucksvollen Gesamtkunstwerk. Dass das alles nicht in Kitsch abdriftet sondern sehr berührt, ist der Kunst von Robert North zu verdanken. Er versteht es, mit Tanz Geschichten zu erzählen, prägnant und voller Poesie

Stück Das Ballett „Die Frau ohne Namen“ mit Musik von Howard Blake wird das nächste Mal am Donnerstag, 19.Mai, um 19.30Uhr am Theater Mönchengladbach an der Odenkirchener Straße 78 gezeigt.
Musikalische Leitung Alexander Steinitz
Choreografie Robert North
Choreografieassistenz Sheri Cook
Bühne und Kostüme Udo Hesse
Dramaturgie Regina Härtling
 

Michaela Plattenteich, West Rheinischer Zeitung, 16/5/2016


Sometimes I'm bowled over by new pieces I hear when half asleep. One a while ago was Poulenc's Concert Champetre. Something about having your defenses down...

Yesterday it was a quite Brahmsian Piano Quartet -- woke up a bit in the very chipper scherzo and listened on. The slow movement seemed deeply felt and affecting, but built very rigorously. The finale was a good-natured romp. I'm thinking, this is pretty good, but if it were Brahms wouldn't it sound familiar?

Turns out that it was Howard Blake's Piano Quartet from 1974! Definitely old-fashioned, but also far more enjoyable and memorable than most of those Brahmsian things written before and after the turn of the 20th century, which tend to be serious, pretentious, and boring.

Not on YouTube, but you can hear it on NML. The theme of the first movement will be VERY familiar to anybody who listens to KUSC in SoCal. If you know it or listen to it, what do you think?


In reply to an earlier post on Jul 14, 2014 4:04:44 PM PDT
Lez Lee says:
Ken, Howard Blake is very well known in Britain for his music to 'The Snowman', an award winning TV animated film.

https://www.youtube.com/watch?v=xb-pX7sIjFY

He's written a lot of film music too.
I bought his violin concerto - 'The Leeds' a few years ago after hearing an extract from it on an ASV sampler CD. I like it a lot but have never got round to looking for anything else by him. I've just listened to and enjoyed the Piano Quartet but didn't recognise any Brahmsy bits, I'm afraid.
Thanks for reminding me about him, I'll definitely check him out.

Posted on Jul 14, 2014 4:07:25 PM PDT
KenOC says:
Thanks Lez. On re-hearing it doesn't sound so Brahmsy, but believe me, half-asleep it did!

Posted on Jul 14, 2014 8:13:01 PM PDT
Last edited by the author on Jul 14, 2014 8:13:14 PM PDT
KenOC says:
Found this blurb on Blake, which seems perceptive. "Howard Blake might be classified as neo-Romantic (with the derogatory implications that the term sometimes carries) because of his gift for melody and the conservatism of his tonal harmonic language, which for the most part sounds comfortably situated in the English pastoralism of the first decades of the 20th century. But because of his absolute mastery of his craft and the fact that his musical ideas are so often really attractive, he seems to transcend that category. Most importantly, he sounds like a composer who is entirely at ease in his own skin; he is not trying to be anything other than what he is, and that gives his music an unselfconscious naturalness and spontaneity."

Posted on Jul 16, 2014 6:43:03 PM PDT
Last edited by the author on Jul 16, 2014 6:44:53 PM PDT
KenOC says:
Lez, I got another disk by Blake, mostly string quartet stuff, that includes Walking on Air, his String Trio, and other works. I really like this guy -- skilled, interesting, and replete with a big fund of good musical ideas. Just don't expect profundity, high drama, or angst, not in his kit bag at all. VERY conservative in his idiom. I think he really doesn't give a hoot about that sort of thing!

AMAZON, 2014

Related Works


'REFLECTIONS - A BALLET IN ONE ACT' op.179a (1976)
A ballet created from the Piano Quartet by Robert North for Ballet Rambert
'REFLECTIONS - A BALLET FOR BALLET RAMBERT' op.290A (1979)
A ballet by Robert North using the Piano Quartet

Related Autobiography Chapters


PIANO QUARTET, SONATA FOR VIOLIN AND PIANO ballet:REFLECTIONS (1974)
DANCES FOR TWO PIANOS, TOCCATA - A CELEBRATION OF THE ORCHESTRA (1976)
MADELEINE MITCHELL (VIOLIN) AND HOWARD BLAKE (PIANO) RECORD AN ALBUM FOR NAXOS (2007)
'SPIELTRIEB' A STRING QUARTET IN FOUR MOVEMENTS (2008)
'PASSION OF MARY' IN SALISBURY CATHEDRAL (2015)

[Back to top]