Title: The PC Quartet: “Traditional Values”
Commission/Dedication: Details unknown.
Premiere: Details unknown.
Composer: Barbara York
Publisher: Cimarron Music Press
Year: 2008
Program notes from the composer:
I have double-labeled this piece both “The PC Quartet” and also “Traditional Values.”
I have had the good fortune and also the demanding experience of living in the American Midwest for the past 14 years. Besides that, we in the US are also living in an election year at the time of my writing this piece.
I have learned over the past several years of living here in the Midwestern US that in order to get along well with friends, neighbors and associates on should follow the wise advice that there are certain things that are never openly discussed – in particular, Religion and Politics. When it comes to the specifics of these issues, American culture is sometimes widely divergent, and yet within its framework there is a fundamental accord in both structure and accepted belief that ties us all together and allows for a certain commonality even within our differences.
There is also an old tradition and understanding within musical circles that the most intimate and difficult relationships possible often take place within the format of the Musical Quartet. This has been more widely attributed to the String Quartet, but I can also see it as possibly occurring within other chamber groups, including Brass and Woodwind Quintets and even Tuba Quartets. As I contemplated writing this piece, I allow people in these very intimate situations to arrive at a common ground, a sense of ease and accord despite all other intruding factors.
In this process, I allowed myself to go further and further back in terms of structure and style – even to the Late Baroque and Early Classical (the Sonata da Chiesa) for something we could all agree on without controversy. In addition to that, I thought it would be useful to center on some very specific values that represent a certain “common ground” for all concerned. In this respect, I have written what I can only describe and title as a “PC Quartet” – politically correct in most aspects and also reminiscent and even derivative of both forms and styles of much easier times that we all still resonate with.
The movements in this “PC Quartet” are all based around both traditional styles and structures and also very traditional, American values ^ God, Country, Mother and Apple Pie. Because I have learned that we should not discuss Politics and Religion with our friends and associates, I have allowed “God” to be there as an underlying structure (the Sonata da Chiesa) and also within the movements of the piece, but otherwise will remain unmentioned and certainly not discussed.
The three movements of the piece will more explicitly express “Country, Mother and Apple Pie”, while still following the more traditional format of the “Sonata da Chiesa”, and hopefully they could still be used in multiple contexts, even in Church. It is my hope that the occasional tongue-in-cheek nature of my own sense of humor will not detract from the seriousness of my writing in this regard – even when the Postlude (Apple Pie) will be marked “a la mode” for those of us who enjoy it that way.
Author assessment and pedagogical considerations:
The PC Quartet was York’s first work for tuba quartet. This piece is appropriate for a collegiate ensemble and is highly accessible to most studios. It could be easily played with doubling parts, making sure that balance is in check.
As the quartet is considering performance, the players should discuss matching articulations as they are a significant part of movement one. The first euphonium does go up to a C5, so that player should have a strong high range. The bottom tuba part has to consistently pump out F1 at forte and the player should be prepared to provide great intonation in this range.
The second movement is pretty straight-forward, but problems could arise with ‘flow.’ I recommend honest practice with a metronome and the bottom three voices getting together to solidify the tempo and flow before meeting with euph 1.
The third movement, in the style of a gigue, should be given careful consideration to not drag, which is the nature of our large instruments.
Recordings:
1. Intrada
2. Pastorale
3. Postlude
