Once Verdi had become Italy's preeminent opera composer, he wrote only a few instrumental compositions, most notably the "String Quartet in E Minor" of 1873. He originally wanted to keep this quartet - first performed in his hotel for a few friends - private, but he eventually allowed its publication. Following its 1876 public premiere in Paris with the celebrated violinist Camillo Sivori, it soon became well known all over Europe and the United States. Though several recordings are available and the piece is regularly performed, all of these performances use later editions that do not live up to the composer's intentions. In contrast, this critical edition is based on his autograph score, preserved at the Naples conservatory, as well as contemporary manuscript parts, early editions, and Verdi's own instructions for performance.Verdi wrote as gifts for admirers the three piano works - "Romance sans paroles," "Valzer," and an album leaf for Francesco Florimo - also included here. Editor Gundula Kreuzer traces their origins, sources, and performance questions - as well as the string quartet's - in her introduction. Her critical commentary details editorial problems and solutions.

This survey of the string quartet by ten chamber music specialists focuses on four main areas: social and musical background to the genre's development; celebrated ensembles and their significance; and string quartet playing. It reviews aspects of contemporary and historical practice, including "mixed ensembles." Informative appendixes and a full chronology of the mainstream repertory complete this compact guide.

Regarded by many as Brahms' first real chamber work, the Clarinet Quintet is here placed in the context of chamber music in general, Brahms' own earlier music, and the history and repertory of the clarinet generally. In addition to providing a detailed analysis, Colin Lawson pays special attention to performance traditions and also to the influence of Brahms' music on later composers. This handbook is the first comprehensive study of this work and it reflects the author's wide experience both as performer and scholar.