related works

24 capriccio's voor viool solo

Genre: Chamber music
Subgenre: Violin
Scoring: vl

Strijkkwartet III : 1944 / Henk Badings

Genre: Chamber music
Subgenre: String quartet (2 violins, viola, cello)
Scoring: 2vl vla vc

Gwyneth Paltrow (from "The Girls Collection") : for string quartet / Chiel Meijering

Genre: Chamber music
Subgenre: String quartet (2 violins, viola, cello)
Scoring: 2vl vla vc

Hymn : Version for improvising string quartet / Ned McGowan

Genre: Chamber music
Subgenre: String quartet (2 violins, viola, cello)
Scoring: 2vl vla vc

composition

String Quartet Nº 3 : There must be some way out of here / JacobTV - Jacob Ter Veldhuis

Other authors:
Veldhuis, Jacob ter (Composer)
Contains:
Slow movement
Fast movement
Description:
The Third String Quartet demonstrates JacobTV’s capabilities as a storyteller. Its subtitle ‘There must be some way out of here’ is a quotation from ‘All along the watchtower’ by Bob Dylan. A song that particularly embodies the philosophy of life as expressed by the rock generations from which TV stems.
‘There must be some way out of here, said the joker to the thief.
There’s to much confusion
I can get no relief’
The text can be seen as optimistic or despairing, but also as encapsulating an idea to be explored. That is the spirit in which the Third String Quartet was conceived. The music is all about sound, about the forces of attraction and repulsion revolving around the central note ‘D’. And for JacobTV sound also means harmony. In that sense, ‘There must be some way out of here’ is a search for a harmonic ‘resolution’: in the words of the composer ‘far from the faded avant-garde, from threadbare conceptualism and postmodernism.’ This search yields a huge spectrum of events: a maze of side roads, abrupt transitions and apparent lacunas. The search for a new aesthetic for Jacob TV, however, does not mean falling back into a romantic idiom. On the contrary: the Third Quartet is in essence one large crescendo, with striking elements drawn from rock and blues. Originally the composer wanted to call it ‘Life and the Boy’ because of its extraordinary energy, and as a deliberate inversion of Schubert’s ‘Death and the Maiden’.