String Quartet (A Mighty Fortress)

This is my entry for the August Competition.

I. Adagio (Grave) - Allegro con fuoco - Allegretto: This movement is a mixture of sonata-allegro and fugue (more fugue than the other). The chief theme of this movement is first introduced in the introduction. The first 6 notes of the hymn, A Mighty Fortress, serve as countersubject during the fugue AND are also developed throughout the movement. There is a lot of development of ideas throughout this movement.

II. Adagio molto Sostenuto: This movement quotes the theme, without alteration. My idea for this movement came from pondering exactly what the hymn was about - melodically and emotionally. This movement serves as sort of representation of man's climb to immortality - whether Heaven or Hell. Life is full of challenges for man - and I think, emotionally, this movement really symbolizes that. I'm very proud of this movement.

III. - IV. Allegretto; Allegro Vivace: My original plan for the last two movements was to 1) increase the tension towards the end of the movement and 2) return towards the contrapuntal textures inherent in the first movement (sort of an overall structure of an arc.) In doing this, I originally wanted 2 separate movements. This changed, however, when I got further into the third movement. I started to see a sort of stasis within the movement itself. As I was about to scrap the entire idea.. it then dawned on me, the third movement - while separate in its own right, had some introductory characteristics to it that would make it easier to transition into the finale movement itself. Thus, in solving the problem of the 3rd movement, I created a short accel. into the 4th movement. The fourth movement, in keeping with the overall arc format, still maintains the contrapuntal nature of the first movement and resurrects the segmented 'A Mighty Fortress' theme used in that movement. The fourth movement also features a development of that theme and then a return to the final statement.

Enjoy!

String Quartet (A Mighty Fortress)

Sweet!!

I love how the violins 'pass the tune' and This sure is really cool atonally stuff (though I wonder how Justin's going to rate this :P ). You sure need a live quartet to perform it for you :) .. maybe you could call up one of those 'Youtube symphony Orchestra' like things ;)

One little score based question though - isn't there something to replace the staccato marks from bar 67 to 77 for the viola (oh gawd I can't remember the name for those long staccato symbols :/ ) ?? I'm not sure whether there is something to show that for a extended periods of time, or is the section not long enough to need one ... As another question, I looked at the brief, and apparently you had to use Ein Feste Burg's motif - I couldn't really see it in that dissonant like piece, is it me just being stupid??

Great Piece, great composer, and good luck on your competition!!

Just listened to the second movement:

It's pretty transcendental: the chord progressions are so odd and otherworldly...is that what you were going for? If it was, then great job! It starts off in a sort of "grounded" way, but then you go into this mix of "atonal" chords and "C Major" chords that give this conflicted, complex feel...no wonder you got goosebumps! Very well done, I think...though at times the midi's lack of liberty for perhaps a little bit of improvised accel. here and there lost some magic performers would give it.

Thanks for sharing :D

Second movement:

I'm going to be frank. Because that's the only way that I can be honest. Please don't be offended, because I'm just doing my job.

I wished you had breached more harmonic ground. This is quite simple harmonically and structurally... Perhaps because it feels to me to be more like suspended common-practice harmony than otherwise. Maybe this was your intention. The textures were relatively similar throughout the work and you rarely changed the range. The freshest section of the music came at measure 31, which I think is the measure you were trying to highlight, due to the sudden introduction of the cello's wonderful open C. For an expressivo movement, I thought it was an interesting choice to use the entire ensemble as one voice rather than vocal sections by individual instruments (which is what I would think would be the obvious choice). As far as development goes, there was no initial introduction of tension. The C major chord which you pose as a "resolution" isn't really a resolution if there's not tension in the first place. So I think this is why many do not see it as "fitting". If you had started tonally, say in F major and had gradually descended into atonality and then landed on a C major chord, I think that would be the ultimate release of tension as you have reached the most stable tonal region given the key. Not only that, but the tension caused by other factors like texture manipulation and rhythmic changes is basically non-existant due to the almost inexistance of these things. I like the ideas that you wanted to convey... it's just the execution that was slightly lacking.

Keep up the good work!

Second movement: I'm going to be frank. Because that's the only way that I can be honest. Please don't be offended, because I'm just doing my job. I wished you had breached more harmonic ground. This is quite simple harmonically and structurally... Perhaps because it feels to me to be more like suspended common-practice harmony than otherwise. Maybe this was your intention.

Yes, this was my intention. I wanted this choralesque feel to the movement. Changes in the texture from this choral-esque feel would've really changed the overall effect of the movement, I felt.

The textures were relatively similar throughout the work and you rarely changed the range. The freshest section of the music came at measure 31, which I think is the measure you were trying to highlight, due to the sudden introduction of the cello's wonderful open C. For an expressivo movement, I thought it was an interesting choice to use the entire ensemble as one voice rather than vocal sections by individual instruments (which is what I would think would be the obvious choice). As far as development goes, there was no initial introduction of tension. The C major chord which you pose as a "resolution" isn't really a resolution if there's not tension in the first place.

As this movement is part of a larger work, one must relate this with the movement that came before. The first movement was very tense in scope. I do perceive tension in the chords that lead up to the c major.

So I think this is why many do not see it as "fitting". If you had started tonally, say in F major and had gradually descended into atonality and then landed on a C major chord, I think that would be the ultimate release of tension as you have reached the most stable tonal region given the key. Not only that, but the tension caused by other factors like texture manipulation and rhythmic changes is basically non-existant due to the almost inexistance of these things. I like the ideas that you wanted to convey... it's just the execution that was slightly lacking. Keep up the good work!

There is no inherent, intentional key or tonality chosen for this movement - nor for the String Quartet as a whole. I'll look at writing a new second movement though... since this one appears to be ill-received.

I really like the second movement. Except for the whole note, follows by two quarter notes idea, which felt too slow for me. Simplicity is a great thing, and anyone who can't appreciate it is truly missing out. It reminded me of certain Gorecki pieces, like "Already It Is Dusk", also for string quartet. It's actually quite different from that piece though.

The first movement is too far from my tastes, I find it hard to understand because my ear isn't fit for that kind of music. However, I must say it flows rather well and I can clearly see the difference between the sections.

The second is quite haunting. I like it. The fact that it works in a "choralesque" fashion, as you have described, is probably why I can follow it well. I imagine a secluded "bit of world", kind of an icy corner of a forest in a desolate area, a bit dark and eerie.

I've only had a look at the second movement and it is really succesfull in creating atmospheric tension. However the string quartet is a genre where since the beginning much emphasis has been given to the part writing and that's what I've been missing a bit. The voices are not very independent as they are often just following each other in parallel seconds syncopation or in the texture being plain chordal. But since it is a second movement this might not be a problem. It's plenty there you can be proud of. Will also have a look at the first movement when I find the time

I've only had a look at the second movement and it is really succesfull in creating atmospheric tension. However the string quartet is a genre where since the beginning much emphasis has been given to the part writing and that's what I've been missing a bit. The voices are not very independent as they are often just following each other in parallel seconds syncopation or in the texture being plain chordal. But since it is a second movement this might not be a problem. It's plenty there you can be proud of. Will also have a look at the first movement when I find the time

I agree on the part writing and individuality of the movement. The first movement (as well as what I have of the 3rd) is far more in line with that 'traditional' role of the quartet. Thanks for commenting and I hope you enjoy the other movements as well.

EDIT: And thank you for giving me the idea now for the final movement!

Edited August 17, 201016 yr by jawoodruff

EDIT: And thank you for giving me the idea now for the final movement!

Interesting, what does this idea look like? I'm looking forward to seing the other movements

Interesting, what does this idea look like? I'm looking forward to seing the other movements

Well, I'm inspired now. My idea (thanks to your comment) will be 4 musically independent lines. Each with their own harmonic inference and melodic contour YET all 4 will be based loosely off similar material. The four lines will meet periodically through the movement. I was going to work on the 3rd movement today.. BUT, now i'm inspired to do the 4th movement first.

Nice, that sounds good. Waiting for the 3rd and 4th movement now

Final movement posted! For those who have commented, I think it best to listen to all movements and recomment if you like. Thanks again for all your help in completing this!

My comment still stands about the whole note, two quarters idea in the second movement: it's doesn't work for me in this context, and I think it drags the whole movement down, which otherwise is very nice. Especially since it happens 3 times.

I don't like the restatement of sections in the first half of the last movement, it gets repetitive. For the second half, it feels a little sluggish, I would pick up the tempo personally, but maybe actually take a few bits of it down in tempo, because the sluggishness is actually and interesting effect, there might be too much of it. The ending is completely inconclusive, probably on purpose, but this doesn't feel like a string quartet which should have an inconclusive ending, to me.

Over all: an amazing piece, it's not even worth enter to contest after this.

This is a massive piece for only a monthly contest. Justin can be proud

I liked the 2nd movement better than 3 and 4. The fourth had an interesting texture, but after a while there was too little happening; I thought it dragged on too long. Loved the major 7th in the final chord though

This is a massive piece for only a monthly contest. Justin can be proud I liked the 2nd movement better than 3 and 4. The fourth had an interesting texture, but after a while there was too little happening; I thought it dragged on too long. Loved the major 7th in the final chord though

Technically, there is only 3 movements. Movement 3 and 4 are connected - and are only about 8 mins of music. I'm glad you liked the second movement. I was really going for something different there.

First Movement: I felt as if the opening chord, followed by the hectic moving lines was slightly fragmented, this isn't a criticism, I'm just wondering if you intended for it to feel disconnected.

In terms of rhythm and harmony I really enjoyed listening to it. I would love to hear it with real players as the trouble with sound samples is that they can texturally be very similar, so you don't get a sense of freedom within the lines.

Second Movement: Some really lovely chordal movement in here, good spacing between the instruments, although again I felt that there was a lot of fragmentation in the piece, and as if I needed a break from block writing.

Third Movement: My favorite of the three, Good use of instruments and sound scapes. There were a couple of ideas I wished had been extended for example at 1.19, just when my ear was adjusting to the high pitched line I was thrown into a new idea, when i wanted to let the previous one sink in. Towards the end of the movement I found myself really enjoying the piece, and getting lost in it, as if in a trance. Some really interesting play between the instruments, and fantastic use of dynamics and accents.

I don't want to comment too much on it, its not the sort of music that I personally enjoy, so don't feel I can say too much on it, as it will be too much about personal taste rather then on what you've written.

I love the second movement, the atonality did kind of throw me off on the movements but I have listened to very little atonal music so my ear really wasn't ready for it.

However I do think this is a good piece and definitely interesting

Sorry for the late comment, Jason.

I really loved your string quartet. Is a very solid and musically powerful work, plus considerating you took only 3 weeks for composing it. Liked specially the first movement.

Greetings

Thanks Silva!

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