Angela Waterman, Chris Noel - violin
Jennifer Turbes, Joanna Smit - viola
Carlynn Savot - cello

Echoes of Adagio was written in early December of 2002. The title refers to Samuel Barber’s Adagio for Strings, which influences the composition directly in its climax and overall effect. Barber has been one of my favorite composers for years and his music has certainly had a direct impact on my writing. When beginning Echoes, I wanted to capture the capabilities of the chamber string ensemble - a sound I fell in love with thanks to Beethoven’s late string quartets - in its wide range of possible dynamics, timbre, and special effects.

I like to think of the piece in four general sections, each interrupted by a viola solo. I almost envision the composition being a dream in which the listener is taken upon a journey. The piece begins in C major with artificial harmonics, seemingly to come from a foggy, distant afar with occasional pizzicatos, harmonic slides, and sudden trills. The rhythmic syncopation is developed and gradually all parts become arco when the harmony shifts with a gentle relaxation into the second, reflective section in F# major. A viola solo theme interrupts, leading into the third section in the relative minor, eb. This section is in a flowing 6/8 meter, full of anxiety, with polyphonic shifts in harmony enabling a sweeping violin solo melody to take control. The texture builds higher in tessitura until a grand climax is reached that harks to Adagio for Strings in its timber and sentiment. After a grand pause and soft restatements, the same viola solo theme is declared which pulls the listener back into the foggy distance of C major for the fourth and final section. It is as if the journey has come to a close, receding with a triad into the distance. The piece is dedicated to my parents for their incredible support and affection, and to Anna for her love and inspiration.

- Tim Bradley, class of 2004