String Quartet No. 1 by Peter Van Zandt Lane

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Peter Van Zandt Lane ! ! ! !

String Quartet No. 1

Peter Van Zandt Lane

String Quartet No. 1 (2011) Composed for the Lydian String Quartet with Jennifer Ashe

• Soprano • 2 Violins • Viola • Cello • Electronics

Total Duration: c. 19:00 I. Chorale; proliferation (4:00) II. Recollections and departures (3:00) étude: fragmentations (1:30)

III. Chanson: Immortality (5:00) étude: reconstructions (1:30)

IV. Reanimation (3:30)

Text for movement III: Matthew Arnold’s Immortality (1867). Poem exists in public domain.

Immortality Foil'd by our fellow-men, depress'd, outworn, We leave the brutal world to take its way, And, Patience! in another life, we say The world shall be thrust down, and we up-borne. And will not, then, the immortal armies scorn The world's poor, routed leavings? or will they, Who fail'd under the heat of this life's day, Support the fervours of the heavenly morn? No, no! the energy of life may be Kept on after the grave, but not begun; And he who flagg'd not in the earthly strife, From strength to strength advancing--only he, His soul well-knit, and all his battles won, Mounts, and that hardly, to eternal life.

Notes to the performers: Accidentals carry through the measure and apply only to the octave in which they occur. Accidentals apply only to the octave in which they appear and hold throughout the measure. Courtesy accidentals have been provided in highly chromatic passages. Grace notes occur before the beat, and glissandi should occur throughout the note indicated. Notes on Electronics: Technical requirements for this piece include two high-quality amplified speakers, five microphones (amplifications for strings and voice), and a computer running a full version of Max/MSP (Max5 recommended). The Max patch should be controlled by a separate performer. After opening the patch, be sure to initialize the DSP, specifying the correct I/O paths to the corresponding instruments, and specifying ‘Audio Files’ in as a file path in the File Preferences menu. The musician controlling the patch must trigger the electronic cues (indicated by circled numbers in the electronic cue part) with rhythmic accuracy indicated in the score. These cues can be triggered by clicking the button labeled ‘cue trigger’ or by pressing the space bar. Cues correspond to either the triggering of audio files or the initiation of live processing. In Movement III, the player controlling the electronics must also ride the ring modulation level for the vocalist. Unless otherwise indicated, the soprano voice should not be modulated. Gain of ring modulation is indicated by dotted crescendo and diminuendo markings above the soprano part. The output of the modulation should provide only a subtle coloration of the voice, and should not overpower the natural tone of the soprano voice. Amplification of strings should be balanced with the electronic parts. A successful live mix should have the ensemble in the foreground, but still have the illusion of electronic sounds acting as a live source.

Program Notes: String Quartet No. 1 was composed in 2011 for the Lydian String Quartet, ensemble in residence at Brandeis University. The piece is divided into four movements, with two fixed-media études framing the third movement. The third movement features the addition of the soprano voice in a setting of Matthew Arnold’s poem, Immortality, adopting the somewhat unconventional shift in instrumentation used by Schoenberg in his 2nd quartet. The text was chosen after a good deal of the material was written and after most of the ideas of form in the piece were conceived. The poem appealed to me, as it seemed to reflect a certain skepticism about mortal cyclicity (through what I perceive as a critical, even pessimistic view of fundamental religious tropes) that I often encounter when thinking about cyclicity in music. I was interested in the possibility for a final movement to feel like it is beginning something new, despite its function as a conclusion to developing musical materials. Ultimately, I thought I could achieve this effect through concluding the development of musical materials in the instrumental parts with newly energized materials in the electronic parts.

String Quartet No.1 Composed for the Lydian String Quartet

Peter Van Zandt Lane

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ĂŠtude: 36

electronics only, strings tacet, 1'25"

"fragmentations"

149

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ĂŠtude: 43

214

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"reconstructions" electronics only, strings tacet, 1'25"

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