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a Myndin' (string quartet): String Ensemble

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a Myndin' (string quartet): String Ensemble

a Myndin' (string quartet): String Ensemble

By Sally Beamish

Item: 98-EP73299
$25.95
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Description
In 2018 I wrote a series of chamber pieces expressing a mix of emotions on leaving Scotland, where I had spent nearly half my life and raised a family. All these works draw on the Celtic influences that have shaped my music over the last 30 years.

The first of these, A Farewell, is for six violas, and the quintet Divertimenti is the second; followed by A Myndin' for string quartet. Also in the series is the duet for clarinet and violin The Flittin'.

This little quartet is an expression of gratitude, and also of nostalgia. A myndin', in Scots, means the 'remembering' of a person, by giving them a small gift or souvenir. It also means a memory.

The piece is reflective, and sometimes wistful. There is light as well as shade, and the small sighs that characterise the viola part are countered by open intervals and harmonics in the violins, and whimsical pizzicato.

In this case, the remembering is not only of Scotland and the inspiration I found there, but also of my former life in London, and the friends with whom I will reconnect.

This piece celebrates the 40th birthday of the Endellion Quartet, and is written in admiration and appreciation of their wonderful playing over the years.

It was commissioned by the Endellion String Quartet with generous support from Turner Sims Southampton, Lark Music and Brompton's, and first performed at Turner Sims Concert Hall, Southampton, on 26th February 2019.

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Additional Details
Series: Edition Peters
Publisher: Edition Peters
ISBN10: 0-577-01714-4
ISBN13: 979-0-577-01714-3
UPC: 9790577017143
SKU: 98-EP73299

More about this title

About the Composer: Sally Beamish

Sally Beamish is a British composer whose music draws extensively from Celtic traditions and the landscapes of Scotland, where she lived for three decades. Her chamber and orchestral works have been commissioned by major ensembles and festivals, and she has established herself as a distinctive voice in contemporary classical music through her integration of folk idioms with sophisticated harmonic language.

Why we love this

A Myndin' captures something genuinely moving about transition and gratitude without sentimentality. The writing is economical and elegant; Beamish uses small gestures, viola sighs, violin harmonics, pizzicato flourishes, to build emotional depth, making this quartet as rewarding to rehearse as it is to perform.

What to expect

Reflective and sometimes wistful, with moments of tender remembrance. The soundscape mingles nostalgia with gratitude, moving between introspection and brief passages of light, never settling into melancholy. There is something deeply human in its simplicity.

Who it's for

String quartets seeking accessible contemporary repertoire that blends Celtic influences with sophisticated writing. It works equally well for intermediate-to-advanced student ensembles and professional groups, since Beamish's voice is clear and the emotional content is immediate.

How to get the most out of it

  • Shape the viola sighs as intimate moments of introspection; they should feel like gentle asides rather than technical fireworks.
  • Balance the open intervals and harmonics in the violins so they shimmer without overpowering the viola's introspective character.
  • Let the whimsical pizzicato passages breathe with light touch and clear articulation to contrast the reflective sections.
  • Attend to the dynamic landscape as a whole; the piece moves between shade and light, so honor both the quieter passages and any moments of warmth or brightness.

How to use it

Program this alongside other contemporary chamber works to introduce audiences to living composers, or pair it with Scottish folk-inspired pieces for a thematic concert. Its modest scale and emotional clarity make it an excellent closing piece for a chamber music recital, inviting reflection without demanding technical display.

Skills your students will build

  • Balancing contrasting textures (pizzicato, arco, harmonics)
  • Playing with rubato and flexibility in a contemporary context
  • Interpreting dynamic subtlety and expressive phrasing in slow, lyrical material
  • Ensemble awareness across four independent voices with shifting textural roles

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