About this work:
Program Note for Suite Thématique
Rhythmically, melodically and harmonically, this six-minute single-movement piano quartet is energetically inspired. Beginning, as it does, in septuple meter, this suite then goes on to fluidly traverse a variety of metrical and temporal settings.
Structurally, the work consists of a series of discernible sections that do not follow any traditional formal ordering or alternation among repeated sections. One section, however, first introduced at measure 106, is subsequently repeated transitionally several times (at mm. 131, 184, and 207) — either as a direct quotation or with slight modification — to enhance the aural connective unity of the work as a whole.
Despite the occasionally dissonant, and even discordant, accents found here and there, the upbeat and spirited nature of the piece overall is palpable and pervasive. No angst or dark brooding disturbance characterizes the psychology of this work, which is more intended to convey the rush of elation than anything else.
Actually, apart from demanding precise rhythmic coordination, a major interpretive challenge of the piece, performance-wise, is the extent to which the musicians can connect with and ride that elated rush throughout its various modulations and permutations.
The thematic reference in the title has more than one significance. In one sense, it is ironical because the work eschews the formal concept of employing primary and secondary themes or even using a theme and variations approach. And, while not intended as a refutation of the continuing validity of such customary procedures, the work is certainly one more example of how the compositional guts of a melodic work need not rely upon thematic development in a traditional sense.
Although no one can deny the melodic feel of this quartet (that is, its aura “Thématique”), its cohesion and sense of order derive from what I call “motivic lyricism,” which through an intuitive melding and organic sequencing of harmonic and motivic rhythmic fragments of melody leads the listener to experience an evolutionary wholeness from disparate elements, not unlike the impact of a work of collage in painting.
This work received its world premiere on December 13, 2007, at the Baruch College Performing Arts Center (New York City), in a concert presented by the New York Composers Circle. John de Clef Piñeiro