Chamber Music String
Quartet
SKU:
PR.114405050
Composed
by John Downey. Set of
Score and Parts. With
Standard notation. 53
pages. Duration 25
minutes. Theodore Presser
Company #114-40505.
Published by Theodore
Presser Company
(PR.114405050).
UPC:
680160008377. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique efffect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water ,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorlines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluch
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against the
sheets of sound conjured
up by the two violins
playing a flood of
swirling figures, evokes
a kind of static motion
in spae. Here, the
virtually imperceptible
manner in which this
hushed whisper continues
incessantly, can suggest
the potential fluidity
with which movement may
inch forward... Later
into the fourth movement
, two fairly extended
solos by the second and
then the first violins,
lead to a kind of
spontaneous dialogue
among the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of 'psycho-rhythmics
contributes to an on-rush
of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.
Irlande
john-field
