Haydn (String Quartet No. 2) 2008
Duration indeterminate.
This is a companion piece to my other piece also called Haydn. Where that work uses the keys of Haydn's symphonies as its basis, this uses those of his string quartets.
Although it is designated for that ensemble, it may be performed by any number and combination of instruments, though a smaller ensemble is recommended.
The notes with pauses at the beginning and end indicate notes to be held, in any register as suited to the instrument.
The top line is to be played by a single player at any one time. This role should pass from player to player as each bar is reached, in an order to be decided between the players. Each group of quavers is played exactly as written (in any register) and repeated over and over. The quaver pulse should not be too fast (perhaps around 80-90 per minute). The speed may vary, but the duration of each note should always be the same - i.e. if the tempo slows then there will be greater space between each note, e.g.
This is a companion piece to my other piece also called Haydn. Where that work uses the keys of Haydn's symphonies as its basis, this uses those of his string quartets.
Although it is designated for that ensemble, it may be performed by any number and combination of instruments, though a smaller ensemble is recommended.
The notes with pauses at the beginning and end indicate notes to be held, in any register as suited to the instrument.
The top line is to be played by a single player at any one time. This role should pass from player to player as each bar is reached, in an order to be decided between the players. Each group of quavers is played exactly as written (in any register) and repeated over and over. The quaver pulse should not be too fast (perhaps around 80-90 per minute). The speed may vary, but the duration of each note should always be the same - i.e. if the tempo slows then there will be greater space between each note, e.g.
The other players play from the lower line, playing the notes in the accompanying chord in any register, any order, any speed (although not faster than the quavers). So a player might choose to play long, slow, legato phrases, or isolated notes. Whoever will play the next group of quavers should play slowest.
Each new bar is begun at the quaver player's discretion. When the next group of quavers begins, the other players should play to the end of their sequences and then proceed to the next group. In this way there will be a blurring between each section, and the piece will proceed smoothly. Duration is free, but each bar should probably be played for at least a minute to give time to explore each group. When the final held note is reached, there is a slight pause, and then the final four bars (a quotation from Haydn's part-song "Der Greis") should be played as written, the crotchet pulse being approximately equal to the previous quavers. Not fast!
Dynamics are soft, although allowances should be made for the environment in which the piece is played.
Each new bar is begun at the quaver player's discretion. When the next group of quavers begins, the other players should play to the end of their sequences and then proceed to the next group. In this way there will be a blurring between each section, and the piece will proceed smoothly. Duration is free, but each bar should probably be played for at least a minute to give time to explore each group. When the final held note is reached, there is a slight pause, and then the final four bars (a quotation from Haydn's part-song "Der Greis") should be played as written, the crotchet pulse being approximately equal to the previous quavers. Not fast!
Dynamics are soft, although allowances should be made for the environment in which the piece is played.
