STRING QUARTET NO. 3
Written: 2019-20
Duration: ca. 24'
Instrumentation: string quartet
Commissioned by The Indianapolis Quartet with funding from the Christel DeHaan Family Foundation.
World Premiere: Carnegie Hall, Weill Recital Hall, New York, NY, March 5, 2020 Publisher: Bill Holab Music
Program Note
String Quartet No. 3 consists of five movements that explore “other voices,” either literally or figuratively. In a literal sense, this could mean speaking or singing in a way that is not considered normal or even out of one’s control. It could also mean speaking differently for a desired effect. Figuratively, “other voices” could mean a voice that is not one’s own. All five movements touch on these definitions in one way or another.
The first movement, Twist and Shout, uses musical patterns that sound like stuttering or someone who has a severe form of Tourette’s Syndrome. I use these sounds as a technical point of departure, incorporating jagged rhythms, erratic melodic patterns, and sudden volume shifts throughout the movement.
The second movement is entitled Poet Voice, and uses this style of reciting poems as a point of departure. In particular, this movement is based on a video of Louise Glück reading her poem “The Wild Iris,” which is included in a book of poems of the same name for which Glück won the Pulitzer Prize. Glück’s poem compares human suffering and finding a voice to the growth of a wild iris that makes a “passage from the other world” underground, despite the difficulty of breaking through. In the image of the wild iris, the explosion of color symbolizes new life. In this movement, I mimic Glück’s speech patterns and structure the movement around the sound of her voice and the content of her poem, essentially giving new life to her poetic reading.
The third movement, Auction Chant, is inspired by North American auctioneering, which is a rapid-fire, rhythmic repetition of numbers and “filler words” spoken by auctioneers in the process of conducting an auction. This movement is also inspired by country fiddle music, which is a type of music often played in areas where auctioneering takes place.
In the fourth movement, Effects Pedal, I mimic sounds made by electronic effects pedals—and in particular, a vocal effects pedal, but without the use of actual electronic effects on the stringed instruments. I also use musical effects that sound somewhat like swallowing helium, which raises your voice when you inhale it, or sulfur hexafluoride, which lowers it.
The final movement is entitled Anthem. In this patriotic-sounding, yet slightly humorous movement, I weave together various sports themes and state songs from around the United States that are used to rile up fans at sports games.
String Quartet No. 3 was commissioned by The Indianapolis Quartet with funding from the Christel DeHaan Family Foundation.
Press Quotes
“[Review of world premiere at Carnegie Hall]: This music’s complex meters and aggressive stance—not to mention the entire quartet’s five-movement form—put one in mind of Bartók... a tour de force of tight ensemble and interplay... it’s clear that Paterson has added a lively and imaginative new piece to the string quartet repertoire.”
“If, like me, you like contemporary music that is not afraid to please while being intellectually rigorous and stimulating, you will fall under the spell of the quartets of Robert Paterson… Propulsive rhythms, exciting play of colours and textures, playing with dissonance effects like so many spices to spice up a dish, but resolutely relying on a tonal centre to keep the listener hooked, Paterson’s sound universe brings together the best in contemporary music of the American school. Better still, he is not afraid to insert quotations from popular music, thus creating surprises with a very sympathetic humorous spring.”
“If you still believe that contemporary string quartets are always a tough listen then Robert Paterson String Quartets 1-3 in superb performances by the Indianapolis Quartet should change your mind... This is clearly music to be enjoyed... imaginative, hugely entertaining and quite brilliant writing, with Paterson always in total control of style and structure.”
“The Third Quartet takes its cue from voice patterns—a Tourette’s sufferer, a poetry reading, an American auctioneer, sports anthems, etc.—in music that runs the gamut from comedy to patriotism. Gloriously entertaining. Believers in the pleasure principle should try a new recording of Robert Paterson’s string quartets. [With the Indianapolis Quartet] he’s found ardent advocates for a personable brand of music-making that is fast, furious, and laced through with sardonic wit... Gloriously entertaining.”
“Probably no one else has created string quartets as irreverent as Robert Paterson’s.... As should be obvious, these are thoroughly engaging works brought vividly and vibrantly to life by the Indianapolis Quartet. Its renderings of the material are so virtuosic and enthusiastic, it would be difficult to imagine another quartet equaling those performed on the release. And how pleasing it is to see the string quartet form reinvigorated with such imagination and verve by Paterson. Other composers would do well to follow his example and consider how they too might bring fresh spins to long-established genres in their own creations.”
“All three quartets combine High Modernism with the rhythmic intensity of an ethnically charged world beyond post-understanding, and also a primal tonal radicality, and then references that channel a kind of universal Pan-Western Globality. Does that make sense? Probably not until you listen... not some typically digested generic item, that it is filled with original twists and turns, and bears attention, giving rewards for all your listening efforts with a set of gemstones, of sparkling elements across a happy beach by the water... Here is one for you if you seek adventure...”
“...modern classical appeal is quite fascinating... The 5 chapters of String Quartet No. 3 exits the listen, and presents a calculated mysteriousness that flows with a dynamic, cinematic prowess where the bowed and plucked strings never stay in one place too long and emit much wonder and awe.”
“It’s difficult to pinpoint just what it is about Robert Paterson’s music that makes it interesting, modern and audience-friendly all at the same time. The first thing that leaps out at you, aside from his tongue-in-cheek handling of themes and fast-paced energy, is his rhythmic vitality, and I can tell you from very long experience in reviewing modern music that, except for those few composers who combined jazz elements with their music... emphasizing rhythms that average audiences can follow is a rare commodity... There are no two ways about it: Robert Paterson’s music is both modern in every respect you can think of—harmonically, rhythmically and thematically—but audience-friendly at the same time. It’s a little nutty, but the world needs more humor in classical music. We have far too much of the “oh-God-I’m-so-depressed-and-serious” type... He’s the kind of composer I wish I were if I had a single composing bone in my body.”
“The Indianapolis Quartet presents the world premiere recording of composer Robert Paterson’s first three string quartets. All three highly colorful works have various similarities: they all use copious extended techniques, but not for the sake of the techniques themselves, but as an integral part of the music itself. He also uses quotes in all three works: the loveably campy “Love Boat” theme in Quartet No 1, quotes from music by Edvard Grieg in String Quartet No. 2, and snippets of various anthems in the last movement of String Quartet No. 3.”
“Paterson’s inspirations in [his string quartets] are expansive: swing jazz, fiddle tunes, Broadway duos, TV theme music, abstract expressionistic art, surrealistic art, cartoons, musical clichés for drunkenness, and national anthems. Polkas and waltzes poke through; microtones, incremental pitch modulation, and outright glissandi are effective devices... A response of laughter can be expected, though darkness and wondrous perplexity may also occur.”