Short Stories is a string quartet concerto commissioned by the University of North Carolina at Greensboro, The University of Michigan, The University of Texas, Northwestern University and the University of Colorado and dedicated to Kevin Geraldi.

This performance is live with the McIver Quartet [Marjorie Bagley and Fabian Lopez, violins, Scott Rawls, viola and Alexander Ezerman, cello] and UNCG with Kevin Geraldi conducting.
Approximately 21 minutes long and scored for string quartet, winds and percussion.

View perusal score here: http://joelpuckett.com/Puckett_Short_Stories_perusal
Part I:

1.	Somewhere near the end [tutti]
2.	Introit [quartet]
3.	The Priests [viola and cello duet]

Part II:

4.	Recitative [quartet]
5.	mother and child [violin duet]

Part III:

6.	sonno agitato [ensemble alone]
7.	The Bridge [cadenza] [quartet]
8.	Ma Fin [tutti]

Program Note

“There will come a time when you believe everything is finished;
that will be the beginning.”

		— Louis L’Amour, Lonely on the Mountain

	What makes the construct of the short story itself so unique among other literary devices is the demands placed on the author to create a meaningful narrative. They must describe the relationships between characters, present a conflict, and resolve it in a remarkably short span. It takes a deft writer to cleverly craft within these restrictions, and yet some have pushed the genre further by creating collections of stories that seem at first disparate, but eventually are revealed to be intertwined. Much like these painstakingly crafted works of literature, Joel Puckett’s Short Stories is a study in structure. On the surface, it bears the appearance of eight vignettes strung together into a concerto for solo string quartet and wind ensemble. Upon listening, however, the work’s movements reveal themselves as inextricably linked through a layered thematic language that plays out through a sort of “game of pairs.” 

	The external movements of the work serve as a frame story, not unlike Chuck Palahniuk’s novel Haunted, which the composer cites as an influential on the structure of the work. Between the external movements, Puckett presents three pairs of linked movements. Each of these sections highlights two of the solo voices, featured at the section’s conclusion with a virtuosic duo cadenza. The final internal grouping—the sixth and seventh movements—takes the independent duo cadenzas and superimposes them. It is only at this climactic moment that we hear that the concerto’s primary theme—the basis for both the first and last movements—is the combination of the elements within these cadenzas. In a sense, the entire work evolves from the constituent solo playing of its stars.

	The opening—amusingly titled “Somewhere near the end”—introduces the notion of pairs in its own way. There is diametric conflict between both the soloists and the ensemble as, until the end of the movement, the two groups play almost exclusively in isolation. The harmonic language likewise poses friction, first hinting at the unbridled optimism of D major, and almost immediately thereafter shattering it with a tempestuous dissonance of extended harmonies in G minor. The effect is that of a series of dramatic wailings that set the stage for the players.

	The first internal section, comprising the movements “Introit” and “The Priests,” is based on ancient liturgical materials. The introit itself is a part of the Proper of the Catholic mass, and this placid movement also presents a part of the Mass’ Ordinary by way of a “Kyrie,” passed from instrument to instrument in the movement’s center. The dramatic beginning of “The Priests” is a stark contrast with its bold chorale scored solely for brass and saxophones, and the rhythmic ostinato from the low strings (“Regina Coeli”: a reference to the antiphon to the Virgin Mary). Complex mixed meters dominate the pulse as a punchy homophonic accompaniment supports the vivid rhythms of the soloists.

	The contrasting middle pairing (“Recitative” and “mother and child”) has a basis in Baroque opera, modeling a recitative and aria. “Recitative” serves mostly as an introduction, with a sparse accompaniment of vibraphone, celesta, and harp. The opening of “mother and child” expands the instrumentation to include the woodwinds and horns, dancing about gracefully with a patient, yet lilting tempo. This middle section is the longest single segment of the piece, and harmonically the most static, as it floats past slowly in a cloudy, dreamlike E-flat major. The gentle caress of the violin duet is both captivating and endearing throughout.

	The tonal center of E-flat remains for the sixth movement, but little else is held as the pleasant dream of the middle section is roused by “sonno agitato”—literally, “restless sleep.” This movement, solely for the ripieno, harkens back to the most tumultuous moments of the first movement. The pulse quickens unrelentingly and the ensemble spills over, out of control, into “The Bridge,” a cadenza for the concertino. Here the previous duo cadenzas are pressed into conflict with each other in a manner that seems incompatible and dissonant. As the soloists play together, however, the argument between them is sated and they begin to find a synergy in their florid and virtuosic variations. The energetic realization of the work’s opening motive ushers in the ebullient “Ma Fin” (a nod to Machaut’s rondeau “Ma fin est mon commencement”—literally, “my beginning is my end”). This finale starts with a return to the first movement, but this time, the soloists come together as one and, with a battering of thirty-second notes, breaks through the restlessness of the ensemble and forces them back on track into the brilliant opening, finally moving together toward their happily ever afters.


—Jacob Wallace

Short Stories [string quartet concerto] CBDNA Premiere

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Joel Puckett is a composer leaving both audiences and the press buzzing. His music has been described as, “soaringly lyrical” (Minneapolis Star Tribune), “Puccini-esque” (Wall Street Journal), and “containing a density within a clarity, polyphony within the simple and – most importantly – beautiful and seemingly spiritual.” (Audiophile Audition). Parterre Box recently proclaimed, “Puckett should be a household name” and the Philadelphia Inquirer’s David Patrick Stearns mused, “if the name Joel Puckett isn’t etched into your brain, it should be.” In 2011 NPR Music listed him as one of the top 100 composers under 40 in the world.

Hailed as “visionary” (Washington Post) and “an astonishingly original voice” (Philadelphia Inquirer), his music is performed by the leading artists of our day and is consistently recognized by organizations such as the American Composers Forum, BMI, Chorus America, National Public Radio, and the American Bandmasters Association.

Puckett’s music attracts diverse performers and listeners through its emotional energy and commitment. Melding tradition with innovation, his distinctive style grows from his power to create transcendent experiences using charismatic musical language.

The Fix, a grand opera commissioned by Minnesota Opera, premiered in the March 2019 to packed houses, enthusiastic audiences, and largely effusve praise. With a libretto by Academy Award and Tony Award winner, Eric Simonson, the work depicts the rise and fall of the 1919 Chicago White Sox. It is a tragedy ripe with power, romance and redemption, set against the backdrop of America’s favorite pastime. Puckett’s earlier commissions have been premiered and performed worldwide, to exuberant critical acclaim.

His flute concerto, The Shadow of Sirius, premiered in 2010 and has received more than 200 performances and been recorded multiple times, including 2015’s Naxos Surround Sound disc, “Shadow of Sirius,” which received a 2016 Grammy Nomination. Currently the Chair of Music Theory, Ear Training, and Piano Skills at the Peabody Conservatory in Baltimore, Puckett presents workshops nationwide and frequently serves as an adjudicator at competitions for rising composers. His music is represented worldwide by Bill Holab Music.

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