[continued]
As various types of stages of energy, momentum, and stability, the modes interact with and transform each other into all possible permutations of yin and yang elements. The yin-yang exchange, partitioning process, and ascending-descending ordering interact to create transformed reflections that appear to be inexact, as if an object is seen reflected in a meandering brook. Thus, even when two lines move in parallel motion but in different modes, the aural impression may be equated to that of two edges of a single brushstroke.
The structure of the quartet as a whole, and its movements and sections, is also related to the transformation and interaction of the changing modes in motion. Each of the four parts progresses through its own modal succession and tonal continuity. Formally, the quartet conforms to the Western multiple-movement tradition and to the classical Chinese form of perpetual transformation of a single thematic idea. The piece is in five movements, or ten sections, most of divergent character, although all are transformations of the nuclear theme presented in the first section. The quartet introduction, in accordance with Asian as well as early European tradition, delineates the modal properties of the work.
The Asian flavor of the second movement appears to be the result of the various pizzicato and saltando sounds that recall such Asian stringed instruments as the sanxian, yueqin, biwa, and komungo. These timbres, however, emerge from the close juxtaposition of ascending and descending orders of each modal segment rather than from a preconceived simulation of the performance characteristics of these instruments.
The third movement is reminiscent, although unintentionally so, of the poems of Li Qingzhao (1084-ca. 1155). One of China greatest musical poets, she was a master of alliteration, onomatopoeia, and other auditory effects. The frequent reiteration of pitches in this movement, however, is the result of the modal phenomenon of shared common tones between the juxtaposed ascending and descending orders. Portamento, con sordino, and different types of vibrato further contribute to the mood that echoes Li poetry. (Li is known by her pen name, Yi an, which coincidentally is the name of my wife, to whom this quartet is dedicated.)