2008: String quartet No.3 (“Four Homages”)
(I. Homage to Stravinsky – II. Homage to Alban Berg –
III. Homage to Schubert – IV. Homage to Paganini)
Publications: IMC
Listen HERE or HERE
“FOUR HOMAGES”
is a cycle of four movements, each one dedicated to another great composer,
each one of which had his very particular influence on me both as a composer and as a performer.
The movements include dedications to Igor Stravinsky, Alban Berg, Franz Schubert, and Niccolo Paganini.
Each of these giants have effected immensely the development of musical culture, each one in his unique way.
HOMAGE TO STRAVINSKY is the shortest movement of all, and in fact the only one which is not based on
the actual quotation from the composer to whom it is dedicated.
It`s misty atmosphere, somewhat in the spirit of the “quasi Russian folk” music (think about the first of the famous
Three pieces for clarinet solo from 1919) functions rather as a kind of introduction for further movements.
HOMAGE TO ALBAN BERG features kind of post-romantic expressionist gestures and harmonies,
typical for Berg`s earlier period. It starts with a straight-forward quote from Berg`s piano sonata,
and this motif comes again and again in different forms and variations all through the movement,
generally of a rather dramatic nature, with many contrasting episodes. From a barely heard shiver of a tremolo pianissimo
up to the most violent onslaughts, it reaches eventually a peak, abruptly stopped by a tutti pizzicato.
Following silence leads eventually to a pacified coda, concluding with the initial “trumpet call” of Berg`s motif,
as if placing a question mark at the end of the sentence.
HOMAGE TO SCHUBERT – The piece is based on the melody from the second movement of the Schubert`s
piano sonata D 960 in B flat major – one of the most touching and tragic movements written by the composer.
In addition, the quartet features the dotted rhythmic pattern that accompanies Schubert’s melody.
Whilst in Schubert`s sonata this element is of melancholic and static character, in this quartet movement, it takes on a
rather threatening and inevitable character. Performed in the low cello register it sounds like a hand of Fate.
This characteristic rhythm presents a contrasting background to a melody that transforms from its original shape
into a kind of “harmonic fog”, a cluster-like texture. Another element used as a quote in this piece is a so called
“dog barking motif” from the second movement of Vivaldi`s “Spring”.
Both movements are melancholic in their nature, both are written in the same scale (C sharp minor) and both use
an ostinato technic. The two works meet in this movement towards its end, when the cello chants
the Vivaldi`s melody in its highest register, providing this music a very personal and tense character.
The chapter ends, as it began, with the ostinato footsteps (or heart beats if you will) gradually fading into the silence.
HOMAGE TO PAGANINI – This movement is of an almost provocative character, making use of the collage technic,
as well as many aleatoric (quasi-random) and improvised episodes, together with sound effects, like imitating a slowing
of an old LP vinyl recording towards the end. It has no doubt a satiric or perhaps even caricaturist touch, making a point
of bringing the performers to play in a super-virtuoso manner at the maximum possible speed.
Many quotations from different Paganini`s Caprices are intertwined and juxtaposed,
creating at times a real a mass of sound, or .. a sound mess, if you will.
Score samples:
