String Quartets c;

LIVE performance from historic Hill Auditorium in Ann Arbor. 

This performance features the McIver Quartet [Marjorie Bagley and Katherine McLin, violins, Scott Rawls, viola and Alexander Ezerman, cello] and the University of Michigan Symphony Band with Michael Haithcock, conducting.

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.

Approximately 21 minutes long and scored for string quartet, winds and percussion.

View perusal score here: 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] UMICH LIVE

I. Intro - Fantasie (Bihag Overlay) (0:00)
II. Intro - Scherzo (Malkauns) (6:42)
III. Intro - Recitativo (Basant) (10:06)
IV. Intro - Rondo (Jog) (14:20)

String Quartet (Ragamala)

Ok, here's my 2nd string quartet for you guys! Thanks so much for the support - purchases allow me to keep doing this for you all. If you like this consider checking out my other music too at http://fororchestra.com/music

Click here to DONATE

Attack On Titan 'Guren no Yumiya' String Quartet

First movement of an unfinished string quartet. Performed by the Friction Quartet

String Quartet, Mvmt. I

Vitamin String Quartet Performs Sigur Ros' "Hoppípolla"
Available at iTunes: http://itunes.apple.com/us/album/per-versions/id317265509

Vitamin String Quartet Performs Sigur Ros' "Hoppípolla"

Vitamin String Quartet - coldplay - paradise

Vitamin String Quartet Performs Taylor Swift Feat. The Civil Wars - Safe & Sound

Vitamin String Quartet Performs Modern Rock Hits of 2012 Vol. 1

1. Tongue Tied (Grouplove)
2. Ho Hey (The Lumineers)
3. It's Time (Imagine Dragons)
4. Too Close (Alex Clare)
5. Burn it Down (Linkin Park)

Available now at iTunes:http://vsq.io/grplove


Vitamin String Quartet Performs Grouplove's "Tongue Tied"

Available on iTunes: http://bit.ly/adelerumour

Vitamin String Quartet Performs Adele's "Rumour Has It"

Available on iTunes: http://vsq.io/songbirdsvsq

Vitamin String Quartet Performs Lana Del Rey's "Video Games"

Vitamin String Quartet Performs Nightmare Before Christmas - "What's This"
Available for pre-order now: http://vsq.io/nghtmrbfxmas

Vitamin String Quartet Performs The Nightmare Before Christmas - "What's This"

Vitamin String Quartet - Misery Business

Available now on iTunes: http://vsq.io/adeleskyfallvsq

Vitamin String Quartet Performs Adele's "Skyfall"

Vitamin String Quartet Performs The Black Keys available now: http://vsq.io/vsqblackkeys

Vitamin String Quartet Performs The Black Keys' "Gold on the Ceiling"

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

Vitamin String Quartet Performs Modern Rock Hits 2012 Vol. 1 is available now: http://vsq.io/mrh12v2

Vitamin String Quartet Performs The Lumineers' "Ho Hey"

Vitamin String Quartet Performs Modern Rock Hits 2011 Vol. 2 is available now: http://vsq.io/modrck2011v2

Vitamin String Quartet Performs M83's "Midnight City"

VSQ Performs Modern Rock Hits 2012 Volume 2 is available now: http://vsq.io/mrh12v2

Vitamin String Quartet Performs Passion Pit's "Take A Walk"

Vitamin String Quartet Performs Ed Sheeran's "The A Team"

Executive Producers: Kevin "K-O." Olusola and Endless Noise 
Arrangement by: Kevin "K-O." Olusola and Ben Bram
Produced by: Kevin "K-O." Olusola, Jeff Elmassian, Mary Catherine Finney, Grant Cornish and Ben Bram
Engineered by: Grant Cornish and Ben Bram
Mastered by: Bob DeMaa

Solo Cello and Beatboxer: Kevin "K-O." Olusola
Piano: Ben Bram
Violin 1: Mona Tian
Violin 2: Andy Studer
Viola: Alessandra Barrett
Cello: Judy Kang


And check out the websites of those that helped me in the process :)
www.endlessnoise.com
www.thebenbram.com
www.dunotran.com

String Quartets c;

zanman95