String Quartet #2

Inside the anatomy of a composer’s music there is undoubtedly a snippet or scintilla of self portrait, of one’s self revealed individuality intertwined within it. A string quartet is not always a result of hard work or a “nose to the grinding stone.” There is also the voice of the abstract the intangible. A voice of what’s relevant to the composer. String quartets are a perfect avenue for a unique and particular kind of personal intimacy expressed through music. A string quartet is like a guide, a distinct bias into yet another facet of a composer’s capability, strengths and personality. My string quartet #2 fits this model.

This string quartet is, I think, much more mature and unlike my first quartet it lacks the obvious influence of academia. My first string quartet was my master’s thesis in composition from the University of Oregon school of music in Eugene Oregon. I’m not scoffing at academia. It was a great experience for me. It was eye opening and very instructive.

Now I don’t fancy much creating music which is nondescript or so thought provoking that it requires a user’s manual to decipher its scope or profundity. This statement I make because I like to wear all my convictions on my shoulder. My shoulders support my head. I like to think that I write my music from the domain of my shoulders. Also, my shoulders are a quick hop skip and a jump to my heart. I once asked this guy where he thinks masterpieces come from and he said from one’s heart.

If I may quote Goethe “The greatest art comes from the greatest discipline.” So, combine this thought with another one, that string quartet music can be an incredible opportunity for a composer to really shine out all the glory of talent, skill and imagination and make the whole business a wonderful marriage.