for two violins, viola and cello

Scoring

two violins, viola, cello

Duration

27 Minutes

Movements

1. Cantabile; free and flowing-crisp & energetic; presto

2. Moderato-free-moderato

3. Majestic-dancing-majestic

4. Presto possible

Recording

Album Title

Trilogy: Chamber Music of Daniel Asia

Label

Summit Records [product id: DCD385]

Sound File

Presto possible

Performances

Upcoming
Past
All
NOVEMBER 1, 2005, 6:30 TO 8:00 PM
TUCSON, AZ
an informal house concert

The quartet, who gave the world premiere of Daniel Asia’s String Quartet No.2 and recorded the work on the Summit CD TRILOGY, will perform and talk about chamber music and the string quartet literature.

Cypress String Quartet
Hacienda del Sol Resort
Tucson, AZ

Program Notes

This composition is a set of variations based on a three-part theme. The variations are gathered together in four movements, each with its own shape and mood, although cross references and relationships abound.

The first movement presents the theme and a four variations. The general character of these variations are improvisatory and probing. The final variation, a presto, brings the first movement to a breathless finish.

The second movement, comprised of variations 5-7, is somewhat of a continuation of the last variation of the previous movement. It moves quite quickly in steady sixteenth notes and triplets (although with a bit of rubato). This gives way to a collage cadenza; here the musical movement is again somewhat hesitant and pondering. It is characterized by quick changes of mood, from very pensive, wispy, and atmospheric, to slightly mad! This section gives way to a return of the sixteenth note motion of the opening variation, but always with a degree of hesitancy.

The third movement is marked majestic, and includes variation 8 and a dance-like music, that has almost the quality of a delicately distorted pavanne. These dance-like sections always give way to the variation material. At the conclusion, a final reference is made to the very first variation.

The final movement, formed entirely of variation 9, is based on variation 4, which in turn, is based on the thematic idea played in reverse. More importantly, it is based on steady sixteenth-note motion in two groups of 3, and is played as fast as possible. A middle section of a more quiet, keening music presents a brief contrast before the quick-paced music returns. Seminal ideas of the theme are heard, as all aspects of the work are drawn together as the work races to a breathless conclusion.

The work, written in 1985 while I was living in Oberlin, was written with the support of the Ohio State Arts Council.