Stephen Maniam
String
Quartet
duration: 15 minutes
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String Quartet
ii) Largo
iv) Steady - Lento - Steady
Whilst writing the String Quartet, I was also producing my Masters dissertation
on Ligetis Piano Etudes. Although there is no written
dedication, the influence of this great 20th[/21st] century master has
leaked more heavily into this piece than anything else I have written,
partly consciously (Why waste time studying other composers, if not to
plunder their best ideas?), partly the subliminal effect of being immersed
in his music. At all times the influence remains just that. The piece
is my own and there is no attempt at pastiche.
The 2nd movement is the only movement that remains in a single tempo.
All the other movements explore, at some level, the contrast of fast and
slow material. At the core of this movement is the exploration and distortion
of a single "traditional" chord (a major 7th chord). Slow glissandi
and gradually shifting microtonal harmonies give the piece most of its
character with the effect being similar to looking through a kaleidoscope
and very, very gradually turning the end. Several possible pairs of 2-note
chords are locked in the major 7th chord and, although different pairings
are explored, I have focused on the two pairs of fifths, stacked a major
third apart (the open interval of a fifth is important in all four movements
of the String Quartet). The pairs, gradually diverge and although the
major 7th chord does briefly resurface in the middle of the piece, It
is not until the final bars that kaleidoscope comes full circle back to
the opening tetra-chord.
In the final movement the glissandi and open 5ths return, this time as
ever-rising figures that speed up giving way to progressively accelerating
scale patterns (falling and rising scales permeate much of the String
Quartet). Interlocking and gradually mutating ostinati are interupted
by a sequence of slowly rising major 7th chords, but eventually lead to
frenetic rising passage-work that is cut short in a dramatic falling chromatic
scale that also ends the first and third movements, this time sounding
absolute and final.
Stephen Maniam (b.1974 ) started
his musical education learning the double bass at the age of 13. Whilst
at school he played with the National Youth Orchestra of Scotland and
toured internationally playing traditional music with bands Celtic Spirit
and Annasach (and being a double bass player, got roped into playing with
just about every ensemble in his home town of Edinburgh).
During his studies at Durham University he discovered 'New Music' and
wrote his first few pieces (including Miro Genere for a
workshop performance by the Nash Ensemble) guided by Sohrab Uduman, Philip
Cashian and Peter Manning. In 1996 his orchestral piece The Seven
Men of Moidart was broadcast by the BBC Philharmonic under Martyn
Brabbins on BBC 2 Television and BBC Radio 3 as part of the BBC Young
Musicians Young Composer Workshop. In the three years after graduating,
he worked at Wells Cathedral School, gaining a teaching qualification
from Cambridge University and attending summer schools in Ireland, Dartington
and Hoy with Peter Maxwell Davies, Alasdair Nicholson, Kurt Schwertsik,
Michael Alcorn and Stephen Montague. In conjunction with these courses
he was awarded a Scottish Arts Council Award and a Performing Rights Society
Bursary.
In December 2000 Stephen received an MA with distinction from City University
where he studied with Rhian Samuel and Simon Emmerson. Recent performance
highlights include The Crocodile Song (performed by Ensemble
Aleph at the 1999 Bath International Festival and Theatre Dunois, Paris
in association with the spnm), Trias (performed at
the South Bank as part of the 2000 Park Lane Group concert series), City
Polyphony (premiered by City University Symphony Orchestra under
Patrick Bailey at St Johns, Smith Square) and workshop performances by
Jane Manning, Icebreaker, Kreutzer Quartet and Archinto Quartet. He is
currently living in Edinburgh and future performance highlights include
a second performance of City Polyphony at this year's Gaudeamus
Music Week.
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