Fantasy for String Quartet (2026)
for 2 violins, viola, cello; 9 min. ca.
The composer writes: Common sense dictates that when composing an extended piece of music, it is a good idea to first draw up some kind of structural framework.
However, in composing my Fantasy for String Quartet, I willfully ignored this approach. Rather, I set out with no clear plan. My goal was to start with an improvisatory approach, and let the piece develop in an organic way.
I soon realized that a consequence of this decision was that my compositional process became slow and difficult. Often, at the end of a hard day of composing – of trying to get the piece to tell me where it wanted to go – I would see that I had composed only a few seconds of music.
In the end, a formal structure did emerge – and perhaps the piece does not sound as spontaneous as my description of my process might suggest.
The composer writes: Common sense dictates that when composing an extended piece of music, it is a good idea to first draw up some kind of structural framework.
However, in composing my Fantasy for String Quartet, I willfully ignored this approach. Rather, I set out with no clear plan. My goal was to start with an improvisatory approach, and let the piece develop in an organic way.
I soon realized that a consequence of this decision was that my compositional process became slow and difficult. Often, at the end of a hard day of composing – of trying to get the piece to tell me where it wanted to go – I would see that I had composed only a few seconds of music.
In the end, a formal structure did emerge – and perhaps the piece does not sound as spontaneous as my description of my process might suggest.
