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What Wondrous Love Is This
This piece begins with a single violin, then adds a second, then adds the viola, and then opens up with the richness of the full ensemble. The simplicy continues with two violins with light accopaniment and then blossoms u with the full ensemble once again. The harmonic and countrapul tension builds to the end with the establishment of a picard third, chord.
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O Sacred Head, Now Wounded
A traditional string quartet with two violins, viola and cello. The beginning section is presented in a somber manner with “con sordino” The phrases are gentle and simplistic with subtle harmonic movements. The second section is “con sordino” and gains in intensity where it reaches a real strong point and the settles down to a real sense of conclusion.
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In The Cross Of Christ I Glory
An unaccompanied string trio for violin, viola, and cello. The introduction is plaintive where it leads into the tune presented by the violin in double stops. The consequent phrase gives the tune to the viola. A modulation takes place and the melody is once again placed in the hands of the violin. This time the consequent phrase is a quasi duet in the viola and cello. The last section begins with imitative entrances of each of the instruments until it solidifies into a solemn end.
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Holy, Holy, Holy
An unaccompanied duet for viola and cello the introduction is a simple motif. The first verse is straight forward alternating between the two parts with active rhythmic counter lines. As the piece progresses it uses continual arpeggiated counter lines giving a continual flowing feeling. The coda ends much as the piece began and concludes in solemn repose.
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Take My Life, And Let It Be
This quartet starts out with imitative voicing and then yieilds to a cello solo line. After a brief transition to a new key the lower voices give way to melodic material only to be answered by the violins in duet form. The third section features the first violin with light accompaniment in the lower voices and then explodes to a sense of finality. Then, rests in a sense of submission.
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Lead, Kindly Light
For string quartet with optional third violin begins with straight-forward harmonizations give a peaceful introduction. The second section is presented melodically in the inner voices while the outer voices enhance the lines with punctuation motives. The middle section of this composition is more active, even while being in a minor mode and using more altered harmonies. The final section goes back to the major and is more relaxed and peaceful and ends in a gentle repose.
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Good Christian Men, Rejoice
Traditional string quartet with opt. violin part for viola. The piece is rendered as a march with the tune clearly stated in the first violin and then becomes more chordal in the upper three parts. A transition is now presented in an imitation of parts with dynamic changes for interest and further then the cello takes over with the tune while the upper parts give harmonic support. The piece progresses to be more block in harmonic and rhythmical structure only to be turned over to imitation in the melodic material. The coda section is much like the introduction material and builds in dynamic force, only to be concluded with a pizzicato final note.
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Silent Night
Traditionally scored with an opt. third violin part for viola. The piece presents itself with the melody in tact but with little thematic motifs passed are the various parts for interest. Gently presented and moderate in difficulty- very adaptable.
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Higher Ground
Vitality is the word that describes the activity of the string quartet in the whole opening section. It then moves to expressive, imitative devices in the middle section where it leads to a finale even more vigorous than the beginning.