Perhaps due to my association with, and affinity for Surrealist art, my music contains certain similarities. The element of surprise, the slight feelings of uneasiness at moments of repose, the humor, at times direct while at other bizarre and sardonic, the lyrical aspect, and finally the jarring attacks occurring when least expected. Most important, however, is the highly personal effect in the process of communicating with the listener, whether that effect produces pleasure, sadness, anger, hatred, nervousness or whatever.
The String Quartet No. 3 was commissioned by the Tokyo String Quartet and is dedicated to them. The work was completed in late December, 1981 and consists of the following movements:
Introduction/Movement I
Movement II
Intermezzo
Movement III
The Introduction, while beginning with a deceptive quiet, contains the basic motif which forms the basis of Movement I. This movement, explosive in nature, consists of two central ideas. Developments within developments produce fragments for brief moments before disappearing and re-emerging again as the central subjects. Movement II is lyrical but bitter-sweet, evoking disquieting associations laying on the border of the subconscious. The intermezzo which follows opens on a vista which is sparse as a Tanguy painting. Figures dart in and out in nervous meters. In the midst of this a somewhat disjointed, bizarre waltz appears and finally trails off as the darting figures again make a brief appearance. Movement III contains four separate elements or ideas, opening with a long series of clashing trills. Triplets form a second element, quite concentrated and intense. A rather' jocular pizzicato section can' be classified as the third element while a quasi-fugal episode coupled with a dramatic transition to a mysterious section in a 5/16 meter form the fourth element. As in the first movement, developments appear almost immediately and disappear just as quickly. Toward the end there is a reappearance of the pizzicato subject in a shortened form and then a quick, driving burst to a series of sharp, slashing chords to bring the work to a close.
