When I was asked to write this piece, the prescription I was given specified the instrumentation (2 violins, 2 violas, 2 cellos,) the duration (12-15 minutes,) and that it feature each of the players. Given the sheer virtuosity of this group, and the large number of players (large for a chamber work,) my performing forces looked more like a tiny chamber orchestra, comprised of its own favoriti (soloists,) than a large chamber group. In this piece, I tried to negotiate solo virtuosity and group virtuosity.

Six is arranged in eight small (or four large) segments. In the four-section scenario, the smaller segments are paired together as ritornello-solo couples. I use the ritornelli as points of respite between the longer and more involved solos as well as preludes specific to their Solo-partner. The more accurate term for the ritornelli of this piece is 'refrain,' since the character of the music is not busy and 'worked-through' as most ritornelli characteristically are, but more song-like and contemplative. I retained the moniker 'ritornello' for these segments to pay homage to the concerto grosso origins and mentality of this piece. The refrains/ritornellos also evolve during the course of the piece, being the only ostensibly tangible frame of reference throughout the piece.

Each movement is a character study as well as a 'feature' for at least one of the instruments. The Ritornello: Introduction features the first violin accompanied by the whole group -- each member making at least one utterance. Solo: Fantasy features the first violin, the whole group in a trio-like Firebird-esque flight of fancy, and finally the second cello joins the first violin in a ghostlike postlude. Ritornello I features the second violinist, with a more unified group identity. Solo I features the group as soloist, then the first viola takes center stage. Ritornello II features the second viola with a pizzicato accompaniment. Solo II is a pizzicato movement, reminiscent of and inspired by the one in Tchaikovsky's fourth symphony. Ritornello III features the second and first cellos, but during the course of the movement, the "solo line" spreads throughout the group. Solo III is a virtuoso movement for all the instruments in the group.

The title Six refers to the six lovely musicians performing the piece. It also refers to the various arithmetic combinations that I used to organize the solo and accompanimental lines/voices throughout this piece (1+1+1+1+1+1, 1+5, 2+2+2, 3+3, 2+4, 1+2+3.) The number of 'movements' in this piece is still a puzzle: I had originally considered organizing Six in six movements/sections, but the materials I used needed more room to develop, and I finished comfortably with eight sections. The first two movements can be lumped into one introductory category, since they introduce the players and warm them up in a fantasia-type setting. The two-part introduction followed by six movements mirrors the introduction plus six-movement form of one of my favorite pieces of all time, Beethoven's Opus 131.

The main influences for this piece are (the aforementioned) Beethoven's Opus 131 and its brilliant 7 movement structure, Bartók's fourth string quartet for its 'character' style movements, Stephen Hartke's stunning piano quartet, The King of the Sun, and the freestyle Dada-esque writing of my friend and collaborator Gabriel Bellman. As a violinist, I am most comfortable writing for stringed instruments. Knowing that my music was in such good hands with Concertante gave me even greater musical freedom than I would feel with the forces of a triple orchestra with chorus complement.

There are no long pauses between the movements, the piece should be performed as one continuous movement.

-- Justine Chen