Tuesday, August 12, 2014

String Quartet #1, Opus 14, to Candy Wilson

It was not an auspicious beginning,  four times  before I had tried my hand at a string quartet,   and each time I had failed.  it was 1995,  and it was clear that a conservative mood,  was across the country.  there would be no changes to marriage if it could be helped.  most people did not realize the change was coming,  though indeed it was.  it was in this atmosphere,  that I started to set down what would be the string quartet,  and as rapidly as possible.  it was not in where I lived with my girlfriend,  but had the home of two friends of mine.  Paul Wilson will be mentioned later,  but it was Candy  who provided the undergirding structure that came to be called a string quartet.

Even at the time,  I knew that five would be number of many of my string quartets,  what I did not realize at the time was the change would have to underlie the very substance of the work,   the very bones of the work needed to be shifted,  it was not just a matter of composing the fifth movement.  I had just worked out what to complete movement in my system was going to look like,  even now it was a trial for a fifth movement to even be there -  as the fifth movement of the  first Symphony will attest to.

Why did this finally,  and rapidly,  come to be known as the first string quartet?

It began very abruptly,  with a fast introduction,  as opposed to the classical slow introduction.  And this was true for a variety of sections,   there would be some difference,  between the classical model,  and what I would do with it.  even at the time I knew that I would be  molding the structures differently then the classical models would suggest.  this would be often  elaborated on,  often in wide detail.  in time it would be a theme that each string quartet used.  by I did not know how deeply it would be embedded in the very bones of the string quartet.  what I knew from the beginning was instead of  slow then fast for the first movement,  it would be fast than slow. In time I would elaborate every single section in two themes,  of two or three things at a time,  but that was not mine focused the beginning.  there would  at most  a theme,  and at the most three character themes,  and often two.

While it may not look it to most people,  it was most distant a classical style  piece of music,  in my own distinct style.  It should be remembered that to distinct classical moments had passed,  a modern movement,  and the contemporary movement,  this was his third,  as yet undefined,  third wave of music. For those people who know modern period,  this will be shocking,  yet it is decidedly so.  and that does not taking into account the electric guitar,  which grew out of  source.

I could you I wanted to,  share descriptions of each of the movements.  I could tell how the second movement is inside  out of a rhythmic rather than melodic transformation,  and  so on.  but that is not why it is Candy's movement,   and that is the point of the  of the issues at the core of this,  not what the movement is about,  the why it's nature has something to with the person involved.  So describing the number 7th that would be about the  complexities,  with number 1.  it is about  the feeling about why Candy is part and parcel of Candy and Paul,  together.

Thus even before a note was written,  or while themes were  being floated,  there was a purpose that came not from the movements,  but from there character as movements,  not lined with their structure, but with their character qua  movements in the abstract.   They were themes woven in to Candy's percent even before they were in the places  in the specific movements, that they would be allowed to. this is why the character of the work is fundamentally about the person,  whether in  a string quartet, or any else.  thus the phrases have meaning that is what it is like to observe candy and Paul dancing,  or anything else.

That is why there is something that will only be known to a few people,  and that is that many years before I had tried to encapsulate in a poem,  which was wretchedly bad,  and  lied dormant,  and I hope it has been erased.  But that work to was Paul in candy,  in blank verse.  this is why it was quick to write,  the themes were there for the taking,  be converted from verse in to music.

I know this is not very good as I would like it to be,  in fact like many of my writing,  it is truly bad work. But I have to  spill this work out,  so that in future it will be there for me to pillage and borrow against win the time comes. Think of this, then, as  pre-work for what will be the true work of Candy and her string quartet. Thus  there are indeed cross references to how I think of candy, in candy and Paul,  which I should elaborate.  But first you have to know,  what it is referring to in the abstract,  and why it is a poem not really music.