Hilda Paredes (1957)

Cuerdas del destino (2007 -2008)

second quatuor à cordes

  • Informations générales
    • Date de composition : 2007 - 2008
    • Durée : 18 mn
    • Éditeur : University of York Music Press
    • Commande : Festivals Ultima, Oslo et Traettoria, Parme
    • Dédicace : Quatuor Arditti
Effectif détaillé
  • violon, violon II, alto, violoncelle

Information sur la création

  • Date : 5 octobre 2008
    Lieu :

    Italie, Parme, festival Traeitoria

    Interprètes :

    le Quatuor Arditti.

Note de programme

Cuerdas del destino is my second work for the medium. In this work I have treated the string quartet as a mega instrument, in contrast with my first string quartet written in 1998 in which I treated the instruments as characters who propose and characterize their own material.

In Cuerdas del destino the concept of consequence is the principle from which all materials develop by creating the direction, dramaturgy and structure of the work. The choice of the title (strings of destiny) derives from this.

As in many of my recent works, the instrumental treatment in this piece is as important for defining the character of the material, as those harmonic, rhythmic and dynamic parameters.

From the introductory opening, two contrasting materials follow each other: glissando tremolo and pizzicato. While a third, on a white note harmony played col legno tratto interrupts the discourse between the other two. Consequently, the first section of the piece grows out of this white note harmony and develops slowly into a microtonal harmony.

The dramatic treatment of these three materials sets up the principles, which will develop throughout the piece.

Each of the four main sections of the piece are defined by their harmony, instrumental colour and gestures.

In the second section a combination of harmonics, col legno battuto and left and right hand pizzicati interact. The rhythmic and percussive character of the third section grows out of the col legno battuto and left hand pizzicati, which fleetingly appeared in a different context in the second section.

Each section is linked to the next one by a transition in which toneless sounds (tonloss) prevail. In the last transition into the fourth section there is further development of the subtle bow pressure of the toneless sounds into various different colours produced by varying bow pressures. This leads to the climax in the quartet, which acts as a link into the last section, built out of elements previously heard but in a different more rhythmic and virtuoso character.

Hilda Paredes.