For over 35 years I refrained from composing a string quartet, daunted by the medium’s history of sublime works by great composers. But on the day I heard of my friend Richard Oake’s death, I was struck by the necessity of contributing something in his memory. String quartets were his great love. I’d spent many happy hours listening to quartets with Richard and discussing them with him. We sometimes disagreed, but that was part of the liveliness of the occasion. I hope that this composition would have met with his approval.
The main "movement" bears some similarity to classical sonata form. A warm first subject is presented, and contrasted with a delicato second subject. However, the seam between them is a brief, violent outburst from the viola and cello. During the development section the two main subjects are given further expression, as one would expect. But the violent music returns too, each time at greater length.
Following one such outburst, a "second movement" interrupts. It's the opposite of violent; it has the "divine unconcern" that Matisse noted in Moroccan art. (Richard Oake's other great love was painting; even when his walls were full, he couldn't help buying a new painting that took his fancy.) This interlude consists mostly of trills, slides, and palindromes.
Warmth and forward motion resume when the first subject reappears. It's given a full recapitulation as one would expect in a classical quartet. When it comes to rest, however, the next recapitulation is not given to the second subject but rather to the violent music — and this time the first violin is leading the outburst. Only the second violin is left holding on to the original tempo and quiet regularity; the other three instruments give vent to all the violence they can muster.
Its energy spent, the first violin is finally persuaded to join the final recapitulation of the delicato music. This gradually, gently takes on some of the attributes of the "divine unconcern" music. All is reconciled.