I don’t remember exactly when, but I think it was sometime in my second year in the music program as an undergraduate, that one of my teachers said something about how a string quartet was a hard group to write for. I had initially thought that I’d write my music drama with a string quartet accompanying the five singers. But my mentor Christian Asplund recommended thinking of the possibility of a different constellation, and I settled on two clarinets, violin, and cello. Here is the page where you can hear Stone-waltz. And here is the page where you can find Electricity-dance, two of my favorite pieces from the drama The Exchange.
A few years ago I approached Don Peterson, who was then the director of the Wind Symphony at BYU. I was interested in writing a piece for his ensemble. He asked me if I listened to a lot of band music? And the truth is, I hadn’t really done that. He gave me several of his ensemble’s recordings and I started listening to them all the time for a while. It helped me get a feel for how the ensemble works, what different roles the different instruments can play, etc. It took me a while to complete the work, but I still have the first movement and it hasn’t been played yet. Holler if you know of a band that wants to try it! I call it Acceptable, and the title might bring to your mind grading at Hogwarts. But it’s actually derived from scriptures in the New Testament.
There are several that talk about acceptable sacrifices to the Lord, such as this one: 1 Peter 2: 5. “Ye also, as lively stones, are built up a spiritual house an holy priesthood, to offer up spiritual sacrifices acceptable to God by Jesus Christ.” (italics added).
Well, I have tried playing string quartets one time when I lived in Rundvik. I had gathered a few friends from the folk music ensemble (Umeå spelmanslag) and we got together for a few months and played some quartets. I know playing chamber music can really improve your overall playing, and besides, it’s just a lot of fun. Your part is really important, but it’s so playful because it’s constantly interacting with the other parts. And nobody else plays exactly your part, so it’s a good challenge.
A little while ago I had the idea I should try my hand at writing a string quartet. And instead of having to check out CDs or buy them, I can now just stream them. So I made a playlist with a bunch of Felix Mendelssohn and Bártok quartets that I could play while driving, cooking, watching kids climb, or whatever I needed to do with only using half a mind. And recently I had a first rehearsal with some other string players to try out quartet playing. It was exhilarating! The music is so beautiful, and it’s fun to try and give the composition justice in our interpretation of it.
One day a couple of weeks ago, I wanted to work on a solo piece, but I had left my notes at home. So instead I just started a score for string quartet. And today I pick it up again. All that listening will probably affect the way the quartet sounds! I like more augmented triads, and I like to think that I’m not still in the harmonic language of Mendelssohn, beautiful as it is. But the playful interaction between parts, that I hope to retain. The figures going from one instrument to another. The importance of landing on a chord that sounds like the harmonic language I have chosen. It needs to feel like one piece that fits together with itself, if you understand my meaning.