String Quartet No.2: The Gathering (Preview)

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Most of the music (from the middle of the second movement to the end of the piece) was composed during the time of the terrible war in Kosovo and the continuous bombings of Belgrade. It was during those trying days that I decided to revisit Nadir, an earlier work, and transform it into the third movement of the present work. Originally scored for flute, viola and tape, Nadir was itself inspired by the horrors of war: it was composed during the devastating conflict between Iran and Iraq in 1988. The original piece has been modified significantly in its newest incarnation. Its “Islamic” Middle Eastern timbre has been maintained – it was clearly appropriate for both contexts – but the latter part of the newer incarnation follows a progress of its own, which is separate from the original. The stubborn ostinati of the end of the original are extended, re-orchestrated and intermingled with new material, becoming even more obstinate and compulsive in the process. This frantic process is interrupted twice by an Eastern Orthodox melody, a voice of deep spirituality in the midst of insanity and terror. However, it is twice ignored by the frantic music racing towards a violent cadence. The last movement picks up where the second movement left off. After several variations of the ground, and a ghostly reiteration of the Balkan-like dance (if the dance in the second movement was a dance of bodies, this one is a dance of souls), the music breaks abruptly into one last violent protestation before it is taken over by the orthodox troparion of the Metamorphosis (Transfiguration) of our Saviour. Similar in mode and content to the chant which tried to halt the progress of violence in the third movement, the troparion of Metamorphosis is a prayer for a spiritual metamorphosis to take place in the Balkans and turn this violent part of the world into a place of peace and œ œ œ œ œ œ Yœ enlightenment. r HERING œœ ≈ œ œä Y œ œ ≈ r 2 8 J ‰ œ 16 3 8 2 g pp œ â ff pp mp mp œ œ ≈ Yœ œPerformance notes 2 œä 8 J ≈ R œ. 16 3 œ œ Yœ ® œ. 8 2 œ ∑ Œ ff • œ œ Ypp œ œ œ Yœ œ Œ œ œ Yœ ≥ r -≤ ≥ r p8 2 -≤ 16 3 ≥ œœ œ 8 2 Yœ œœ œ Yœ œ ≤ ≥ œ Yœ œ ≤ Yœ œ w mp w œ note value, w similar to a pitch w bend. col legno battuto r p arco IV mp w w • 8 2 œ ∑ j œ ‰ 16 3 w œ ® Yœ Y w 8 2 œ Y Y œ ® œ œ > p ff p mp œ ∑ Œ œ Yœ œ œ Yœ Œ œ œ Y œ Yœ œ œ Yœ œ given Yœ œœ r note value. Y p œœ œ 8 3 mp R ≈ ≈ ® œ œ œ œ œ Yœ Yœ r Yœ œ œ œœ ≈ ® R Ô œ œ g pp â g pp œ œ œ œ œ œ œ œ Yœ œ . mp Y∑ œ Yœ ∑ ∑ ∑ ≈ œ mp â Y œ 5 8 3 œ ≈ ≈ Yœ œ ∑ Œ œ œ œ œ Yœ œ œ œ œ -≤ ≥ w pp 8 3 . œ œ œ -≤ œ Yœ œ . Yœ œ œ œ Yœ œœ œ≥ p œ g Y˙ A smooth rising and falling glissando effect is applied to the notated pitch, whereby the pitch is raised by about a semitone and returns to the notated pitch within the given A smooth falling and rising glissando effect is applied to the notated pitch, whereby the pitch is lowered by about a semitone and returns to the notated pitch within the • Headless notes joined by a slur and glissando line indicate the use of microtonal pitches between the notated pitches either side of the headless notes. The player should preserve PE107 – vi
the intervals between the conventional notes when performing the glissando. • Movement II, measures 1-9: The slower-paced parts should be slightly softer than the faster-paced parts even when they are marked with similar dynamics. Therefore, the viola part should sound softest and the first violin part should sound strongest, with the second violin in between. Crescendos and diminuendos in this section should be exponential, that is crescendos should get louder very slowly and diminuendos should get soft very quickly. • Movement III contains vocalisations for all players. These are marked with a cross notehead and lyrics. There is also indicative dynamics underneath. These should be a loud, shouting sound as opposed to spoken words. PE107 – vii
Page 1: PROMETHEAN EDITIONS CHRISTOS HATZIS
Page 4 and 5: String Quartet No.2: The Gathering
Page 6 and 7: promoted Inuit culture around the g
Page 10 and 11: PE107 - viii
Page 12 and 13: 22 & ∑ & w ppp B Yw ppp ? ∑ w p
Page 14 and 15: 54 œ> œ> Y> œ œ> œ> œ> œ> œ
Page 16 and 17: 84 & & B ˙ œ W œ W œ œ œ œ
Page 18 and 19: ? 4 3 106 & 4 ≈ œ > œ @ Ó œ
Page 20 and 21: & 4 6 ‰ ≈ œ W œ p 4 6 4 6 4 6
Page 22 and 23: 14 œ œ W œ & & B W œ ? W œ œ
Page 24 and 25: - 32 3 3 3 3 6 & ‰ œ W œ œ œ
Page 26 and 27: & œ > œ 3 3 Y œ œ W œ R ≈
Page 28 and 29: fast, light bow 80 . œ & & W œ p
Page 30 and 31: X œ œ œ œ ≥ ≤ ≥ & Yœ œ
Page 32 and 33: √ W > œ W œ W œ œ œ , > œ
Page 34 and 35: 17 Á‰ = ‰ (e = 192) & 16 3 16
Page 36 and 37: 83 & 16 5 œ œ Yœ Yœ pp & 16 5 B
Page 38 and 39: 138 & Y œ & > œ Y œ . ? ∑ > .
Page 40 and 41: 212 & & œ œ - œ B œ œ ? ∑
Page 42 and 43: 272 & 4 8 œ 5 œ W œ œ œ mf & B
Page 44 and 45: accel. Œ = 64 (e fff (Œ = 250) =
Page 46 and 47: 394 & 16 2 œ . Y œ . Y œ . œ .
Page 48 and 49: ? 464 3 & 8 & & & 3 8 3 8 3 8 ∑
Page 50 and 51: & 16 3 Y Y ä œ ≈ œ . œ . Y Y
Page 52 and 53: 10 > œ œ œ œ W œ œ œ œ œ
Page 54 and 55: 27 œ , > œ Yœ œ œ œ , > œ œ
Page 56 and 57: œ & 55 . Y œ œ . œ . œ Yœ . .
Page 58 and 59:
101 & & B ? œ . ∑ Y œ œ œ œ
Page 60 and 61:
¤€ Y˘ œ . œ . œ . œ . œ .
Page 62:
? ? ? ? ? 156 Y œ . œ. œ. œ. œ
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String Quartet No.2: The Gathering (Preview)

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