The musical material for Edges finds its origin in a simple, descending three-note motive, C-sharp–A–G. This motive is repeated frequently in the opening section and returns throughout the piece in different transpositions and rhythmic augmentations and diminutions. This motive “hints” at a longer melodic idea which is deliberately withheld until the closing moments of the work, where the first violin is given a long, fully realized melody based on this simple three-note fragment.
In addition to the melodic considerations, contrast and homogeneity are two main compositional ideas that contribute to the overall identity of the piece. Homogeneity is provided by the homophonic and unison string writing, blending the quartet into a merged, single string sound; contrast is highlighted by the diversity of textures and moods, ranging from contemplative to capricious; frenetic to calming.
Edges is loosely based on a five-section arch form. Swirling arpeggios open and close the piece, contrapuntal interjections comprise the second and fourth sections, and the middle of the quartet is a slower, more introspective period of tranquillity.
COMMISSIONAspen Music Festival Susan and Ford Schumann Center for Composition
PREMIEREJuly 26, 2013
Harris Hall, Aspen, CO
Eduardo Rios (vln. 1), Felicity James (vln. 2), Katheryn Dark (vla.), Clare Bradford (vc.)
ADDITIONAL PERFORMANCESMay 2, 2015
Whitebox Arts Center, New York, NY
Daedalus String Quartet, Min-Young Kim (vln. 1), Karen Kim (vln. 2), Jessica Thompson (vla.), Thomas Kraines (vc.)
April 16, 2014
SubCulture, Arts Underground, New York, NY
Fabiola Kim (vln. 1), Julia Choi (vln. 2), Alexander Knecht (vla.), Patrick Hopkins (vc.)
August 12, 2013
Benedict Music Tent, Aspen, CO
Eduardo Rios (vln. 1), Felicity James (vln. 2), Kathryn Dark (vla.), Austin Huntington, (vc.)
AWARDSFirst prize, 2014 MACRO (Music Analysis Creative Research Organization) Composition Competition
Finalist, 2016 RED NOTE New Music Festival Composition Competition