Recording above made my Klangforum Wien, 2018 in Larrisa, Greece. A Quatuor Béla version please refer to my SoundCloud.
Immobilised Motions, string quartet no. 2 (2017-18)
Instrumentation -
violin I, violin II, viola, cello
Duration - ca. 10'10''
Performance history -
March 25, 2018, Genève, Switzerland, Quatuor Béla
December 16, 2018, Larissa, Greece, Klangforum Wien soloists
Program Notes -
I wrote the majority of Immobilised Motions when travelling in Peru in December 2017. The pitch material of this piece is related to an earlier string quartet I wrote in 2011. In this piece, I aim to create a paradox between mobility and immobility.
The form of the piece has been planned as a rigid ABCA’. By immobilising the structure in that way, the music, despite its relentless motions, becomes immobile and discrete from a perceptional view. The overall result maintains interest through the contrast between its vigorous surface and vapid essence, and reminds me of a common social problem, mainly happening in human speech. I believe almost everyone would have this kind of experience from politicians, business people, professors, artists, or any other person that, when is talking endlessly and is using various ways to talk, and yet they are really saying nothing of substance. On one hand, this piece is a showcase of a skilful writing, and is sonically full of motions. On the other hand, it is also a showcase essentially to drive the listeners to nowhere and to stay immobilised.
Instrumentation -
violin I, violin II, viola, cello
Duration - ca. 10'10''
Performance history -
March 25, 2018, Genève, Switzerland, Quatuor Béla
December 16, 2018, Larissa, Greece, Klangforum Wien soloists
Program Notes -
I wrote the majority of Immobilised Motions when travelling in Peru in December 2017. The pitch material of this piece is related to an earlier string quartet I wrote in 2011. In this piece, I aim to create a paradox between mobility and immobility.
The form of the piece has been planned as a rigid ABCA’. By immobilising the structure in that way, the music, despite its relentless motions, becomes immobile and discrete from a perceptional view. The overall result maintains interest through the contrast between its vigorous surface and vapid essence, and reminds me of a common social problem, mainly happening in human speech. I believe almost everyone would have this kind of experience from politicians, business people, professors, artists, or any other person that, when is talking endlessly and is using various ways to talk, and yet they are really saying nothing of substance. On one hand, this piece is a showcase of a skilful writing, and is sonically full of motions. On the other hand, it is also a showcase essentially to drive the listeners to nowhere and to stay immobilised.
© 2018 by Zhuosheng Jin.