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Not the most up-to-date version, but this is an old piece anyway.

String%20Quartet-06%20-%20Full%20Score.pdf

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Comment by Ingo Lee on November 4, 2016 at 10:39pm

"That's why I feel a polystylistic, postmodern idiom is so powerful: it seems to me to be the only effective way to provide an ironic critique of the music being written while taking it seriously at the same time"

Yes it is powerful and I would say my favorite of what I have heard from you. You say this is an old piece, does that mean you're not writing like this anymore, I hope not.

The sample quality sounds almost electronic at some points, I kind of like that too.

Comment by Mike Hewer on November 3, 2016 at 10:48am

Agree entirely with your last sentence. I'd sensed there was a sophisticated under belly to the piece which is why it works very cohesively in toto.

My way of creating contemporary structural harmony leaves a door open to atonal practice as well as gravitational leaning and although my writing isn't polystylistic as such, the method (not That one) allows me to control tension/relaxation to whatever degree I choose.

Understood about the midi, been there myself.

Comment by Nate Fain on November 3, 2016 at 10:36am

Thank you, Joseph and Mike, for your kind comments.

Mike,

I'm afraid that the 'lousy sounding rendition' will have to do, because I have absolutely no clout with the university's best string players and/or chamber groups. I thought you wouldn't have liked the 3rd movement, but it's also intimately connected with the 2nd in its material; despite the surface rhythmic monotony, there is actually a sophisticated rhythmic process underlining this movement (there are in essence two rhythmic versions of the fugal-canonic subject). Your reading of the 5th movement is spot on, indeed, 'tonality' (at once extremely archaic and modern) charges into the piece, but instead of providing any of the stability that we would associate with tonality, this passage is a counterweight to the goal-directed polytonal sequence at the beginning and destabilises the E-flat/D-sharpish centre of the passages preceding it immediately. That's why I feel a polystylistic, postmodern idiom is so powerful: it seems to me to be the only effective way to provide an ironic critique of the music being written while taking it seriously at the same time.

Comment by Mike Hewer on November 3, 2016 at 5:48am

Hi Nate,

Loved the chromatic motivic workout in the first mvt. I found it difficult to listen to the 2nd mvt at first because of the lousy sounding rendition, but after a few hearings and with half closed ears, I started to listen to the music  and think it's idiomatic writing would  sound very exciting played live, especially with adherence to the dynamics.

The 3rd is my least favourite, for me it feels stylistically out of place here and it's the rhythm that bothers me - to regular. The 4th is my favourite, full of good invention and an interesting discourse over the ground.

The last mvt, a resume of previously heard material made me feel a little ambivalent to it, not sure why though - it has all the elements I like in a piece it's even a bit Tippet-ish. I noted tonality trying to break through at one point and it made me smile. The fin de siecle nature at the end was satisfying though as was the questioning harmony at the end.

What I did find very convincing was the focused intent in the piece taken as a whole, this is hard to do and is a sign of maturity in conceptualising. Thanks for posting..

Comment by Joseph Harry on November 2, 2016 at 1:45pm

Nate-- I really enjoyed this work. Thanks for posting it.

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