This is a piece that was performed by a group of friends (Renee Pyne, violin I; Nicole Durham, violin II; Jacob Crosby, viola; and Ben Osterhouse, cello) on my Senior Recital.

I wrote this first movement, Allegro, with the intention of entertaining audiences from a theatrical standpoint. While technically very difficult, actual performance of this piece should come across to the audience as overly dramatic and silly. Expression markings such as “con fuoco,” “agitato attacca,” and “cantabile” tell the players not only how to express the music, but also how to physically embody the emotions of the piece. Harsh, fiery, waving lines filled with multiple stops and dramatic dynamics should pleasantly compliment passages of agitation, mystery, and sweetness.

This piece is very challenging to players because of its awkward tonality and largely percussive nature. The fact that it leads tonally downward without a clear key scheme creates the problem of forcing string players to maintain intonation while reading a score filled with lowered notes. Also the wave-like percussionistic and flowing “strummed pizzicato” passages require intense coordination of the hands.

II. Largo-molto
http://www.newgrounds.com/audio/listen/575994

III. Vivace
http://www.newgrounds.com/audio/listen/575995