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In december 2019 I finished my 24 string quartets in 24 keys. The cycle is an hommage to Dmitri Shostakovich, who was on his way to do the same, but never got the chance to finish.

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What is the purpose of writing in specific and even remote tonalities? Many non-keyboard instruments respond differently to tonalities and only allow certain instrumental acoustic effects in specific fingering  positions, in specific keys. In most cases a composer takes into account those technical aspects of instruments, hence the specific use of C flat major enabling better sonority on the harp (all pedals up) or, for the same reason, the popularity of E minor or on the guitar (open strings, and easier fingering).

“String quartets in remote keys” verder lezen

This cycle of quartets in all keys is written as a tribute to Dmitri Shostakovich who was the first in music history taking the initiative to write in all keys for twenty-four, systematically planned string quartets. Unfortunately he died long before full completion of his project, nevertheless leaving a legacy of 15 outstanding string quartets in 15 different keys. In this preface I would like to invite quartet musicians who are interested to get introduced to the background of my quartets as well as to the main elements of their setup and musical style.

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In the beginning of 2018, after my 8th quartet, the second written in A minor, I realized that I had broken a chain of quartets written each time in a different key. I was used to this way of working in order to start in a fresh mindset every next time, however without the idea of a complete collection in all keys. Then I read about Shostakovich’ unfinished project. I decided to change my approach to realizing Shostakovich’ idea to full completion.

“Tribute to Shostakovich” verder lezen