FRANK STEMPER, COMPOSER
String Trio (2008)
I. Dramatic, Shimmering — II. Quiet, Hazy, Not Too Fast — III. Raw, Relentless, Fast
violin, viola, cello [16 mins.]
World Premiere 21 May 2008 by The American String Trio in Budapest, Hungary
in a live Broadcast on Hungarian National Radio - Bartok III
Opus 61 — A.S.C.A.P. work I.D. 495606038
SCORE
in a live Broadcast on Hungarian National Radio - Bartok III
Opus 61 — A.S.C.A.P. work I.D. 495606038
SCORE
PROGRAM NOTES
String Trio (2008)
My first and only String Trio was commissioned by the American String Trio, a young, dynamic ensemble, which includes former members of such ensembles as the Kodály String Quartet and the Cleveland Camerata. The three-movement work was premiered in Budapest in May 2008 over Hungarian National Radio in a live broadcast on the Bartok–3 network.
A rhapsodic first movement and an energetic last movement, slightly reminiscent of Bartók, are separated by a somewhat relaxed and non descript middle movement. It is this middle movement that houses the principal thematic idea of the entire piece: “light unemotional sawing.” This doesn’t sound very impressive, and to further complicate the situation, the performers asked to play sul tasto, which they hate to do, not because it is difficult, but because it is so terribly exposed. It is very close to the sound of a natural harmonic, sometimes labelled flautando, or flute-like, because the flute’s sound is mostly limited to the fundamental tone and one upper partial – the octave. There is little chance for the string players to affect the sound with vibrato, or upper partials to color the sound. In fact, it is a very wispy sound, and there is no room for bravado. Although the outer movements are considerably more active than the second, the energy in both is constantly foiled by a recurring statement that ruins any chance of momentum until the end. This aggravating idea also introduces and brings back, again and again, the sul tasto sawing idea. This unemotional “spoiler” keeps frustrating the listener and the performers until the end, when they can let loose – but even when they do, and the ending is climactic and fulfilling, the emotional echo of the sul tasto, wispy statement seems to remain the overt meaning of this music.
String Trio (2008)
My first and only String Trio was commissioned by the American String Trio, a young, dynamic ensemble, which includes former members of such ensembles as the Kodály String Quartet and the Cleveland Camerata. The three-movement work was premiered in Budapest in May 2008 over Hungarian National Radio in a live broadcast on the Bartok–3 network.
A rhapsodic first movement and an energetic last movement, slightly reminiscent of Bartók, are separated by a somewhat relaxed and non descript middle movement. It is this middle movement that houses the principal thematic idea of the entire piece: “light unemotional sawing.” This doesn’t sound very impressive, and to further complicate the situation, the performers asked to play sul tasto, which they hate to do, not because it is difficult, but because it is so terribly exposed. It is very close to the sound of a natural harmonic, sometimes labelled flautando, or flute-like, because the flute’s sound is mostly limited to the fundamental tone and one upper partial – the octave. There is little chance for the string players to affect the sound with vibrato, or upper partials to color the sound. In fact, it is a very wispy sound, and there is no room for bravado. Although the outer movements are considerably more active than the second, the energy in both is constantly foiled by a recurring statement that ruins any chance of momentum until the end. This aggravating idea also introduces and brings back, again and again, the sul tasto sawing idea. This unemotional “spoiler” keeps frustrating the listener and the performers until the end, when they can let loose – but even when they do, and the ending is climactic and fulfilling, the emotional echo of the sul tasto, wispy statement seems to remain the overt meaning of this music.
PRESS NOTICE
STRING TRIO
— performed live by The American Trio on HUNGARIAN NATIONAL RADIO – BARTOK I
Concert Cycle 2008 the contemporary music series of Magyar Rádió
“Ha az eminens alaposság konzervatív jegy, akkor FRANK STEMPER Vonóstriója az els? hangtól az utolsóig konzervatív m?. A m? minden mozzanata kottában rögzített, a szerz? kevés teret enged a megszólalás és az el?adás esetlegességeinek, sarkítva úgy is fogalmazhatunk, hogy a Vonóstrió írott alakja mindig jobb lesz a megszólaltatottnál. Nyilván ezzel függ össze, hogy a kompozíció papíríz?.”
Hangversenyciklus 2008a Magyar Rádió kortárs zenei sorozata
BUDAPEST
(Translation)
“If eminent thoroughness is a conservative mark, is Frank Stemper’s String Trio first? It tows that mark from the first sound through the last. Every moment of this work is precisely composed leaving little doubt as to the composer’s intentions. However, does this conclude that that precise written score will always be better than the realization by the performers? Is there then too little room for the added expression of the performers? The performers (American String Trio) effectively and artistically delivered the composers intentions.”
STRING TRIO
— performed live by The American Trio on HUNGARIAN NATIONAL RADIO – BARTOK I
Concert Cycle 2008 the contemporary music series of Magyar Rádió
“Ha az eminens alaposság konzervatív jegy, akkor FRANK STEMPER Vonóstriója az els? hangtól az utolsóig konzervatív m?. A m? minden mozzanata kottában rögzített, a szerz? kevés teret enged a megszólalás és az el?adás esetlegességeinek, sarkítva úgy is fogalmazhatunk, hogy a Vonóstrió írott alakja mindig jobb lesz a megszólaltatottnál. Nyilván ezzel függ össze, hogy a kompozíció papíríz?.”
Hangversenyciklus 2008a Magyar Rádió kortárs zenei sorozata
BUDAPEST
(Translation)
“If eminent thoroughness is a conservative mark, is Frank Stemper’s String Trio first? It tows that mark from the first sound through the last. Every moment of this work is precisely composed leaving little doubt as to the composer’s intentions. However, does this conclude that that precise written score will always be better than the realization by the performers? Is there then too little room for the added expression of the performers? The performers (American String Trio) effectively and artistically delivered the composers intentions.”