Imaginary Places

for String Quartet

Imaginary Places is a set of 5 minimalistic miniature pieces for String Quartet. Each movement utilises the same motivic ideas but varies uniquely by utilising different minimalist techniques used by various composers to take us to the 5 imaginary places. The set is an optimistic reflection of the COVID-19 pandemic and the Stage 4 lockdown in Victoria, Australia, stating that even though our body may be stuck in the circle that is 5km in radius, our imagination can take our mind to anywhere so far away that no one else has ever been to.

Mvt. I Place Above Near The Clouds

The 1st movement, Place Above, Near the Clouds was inspired by an untitled painting by Lily Ke, an artist who is the sister of an excellent violinist as well as my great friend, Samuel Ke. The piece aims in depicting the abstract, pastel-like texture and colourisation of the painting by having the melody spread apart to all 4 string parts with suspension. In effect, the piece illustrates slow yet assured ascension in combination with the theme.

Mvt. II. Place Filled with Electric Trees

The 2nd movement, Place filled with Electric Trees is inspired by Steve Reich’s Electric Counterpoint and his use of mechanical yet fluent repetition/progressive variation. The theme is flushed out into equal 16th notes, which varies in time mostly in its rhythmic pulse through the changes of time signature. Different layers of theme are present, which is created by the displacement of the theme in the parts. The piece is imagined depicting a cybernetic world and the visual of electric signal transferring through.

Mvt. III Place with Lushous Air

Work In Progress (EST.2022)

Mvt. IV. Place Where We Fall

The fourth movement, Place Where We Fall is drawn out from the infinite motion of descent, inspired by Arvo Pärt’s philosophy of music. The motif is captured in inversion, shifting through the isorhythmic pattern as it expands. As a result, an irregular yet very tonal harmony is created. Such a harmonic feeling was enhanced by the Tintinabuli technique, further distinguishing the harmony from triadic harmony. The piece takes us to where we feel not only physically but also mentally falling. Falling is restless. It is inevitable yet reassuring.
Because at the very moment we are falling, we cannot do anything, but we are free from doing anything.

Mvt. V: Place Where We Call Home

Work In Progress (EST.2022)