Coming up this weekend is the premiere of my new String Quartet – The Figure, performed by the excellent Harlem Quartet.  ( 9/ 15 – Syracuse University,   9/16– Eastman ,  9/17 – Cornell) 

The 16-minute Quartet was composed in January and February, during  which time I felt almost as if  I was working in a trance:  the materials grabbed me and wouldn’t let go.    It is traditional in no way  –  not in its forms, nor  its sounds nor  its character.   It’s cast in 2 movements,  but only as I was about half-way through the second did the a title  suggest itself.   (Playing on the fact that the term “figure” is  meaningful in visual arts and literature, as well as in music.)

Everything in the Quartet derives from the materials of its tripartite figure.   And since these are revealed differently in the two movements – obscured in the first;  in the second initially outlined harshly, but then interrupted  increasingly by a softened, melodic version of  itself –   I  titled each movement accordingly:   1 -  In Shadow ,    2 – In Bright Light.
 
Overall  the Quartet is  dramatic in its character, but woven in its form.  It changes on a dime from inward to outward musics,  from  romantic sweep to  angular exclamation –   at one point  (at the height of  Shadow’s  central sprint),  I ask the players to stamp their feet,  several times,   for unison emphasis – and the movements  interrelate .    Example:  There’s a shard which appears only once in the first movement that  in the second becomes  seriously meaningful.

The Harlem Quartet is very interested in the piece, and we’ve already had some spirited rehearsals (by electronic means); we meet in person at Syracuse on Friday.

[Five other of my works will also be done at Syracuse across  the two  Saturday concerts. ]

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