The Seventh is the only one of my quartets so far to adopt the customary four movement pattern used frequently by many of the great Classical masters. The work will be receiving its first performance in 2009, a year which co-incidentally marks the anniversaries of two great quartet composers: Haydn (who died in 1809) and Mendelssohn who was born the same year. Strangely the influence of these two composers can be felt in different ways at various points in the Quartet. The Scherzo for instance is an attempt to recreate something of the wit and mischief so often encountered in Haydn’s dance movements with some musical imagery that may even suggest references to some of my favourite 20th century slapstick comedians. The Finale on the other hand pays homage to that light, transparent texture so characteristic of Mendelssohn sparkling and bouyant, infused with a quiet energy. There are other Mendelssohnian features also; the central song without words in the Adagio, and the gentle lilting rhythm of the opening Allegretto also.

(Matthew Taylor)

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