Update Title: 060B4CAF-9580-46E5-8B3E-37CE4E4AA9AB

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From Opera Today interview, Sep. 2010:

I was writing about my wife’s cousin, who was extremely ill, and I was fairly young, and had never done that before. I didn’t usually like the idea of writing about something in my personal life that was upsetting, and then turning it into a piece. In this case I couldn’t help it — I was doing it anyway. I had a commission to write a string quartet, and this is all we were talking about at home. I decided to try to deal with it in the piece, because I figured if that’s what I am thinking about, I should write about it. Interesting things happened. One of them was when I decided that the cello would be the threat of the disease, and the violin the outrage, and the second violin and the viola would be giving a sense of time passing. Though that seems programmatic, I didn’t make it into a program, but used it as a way to define the material, and its relationship to each other. The whole piece started to work that way, and it became a very strong piece — I felt it was stronger than other pieces that had come before it. The reactions of other musicians to it were very powerful, and there were people crying in the audience, even though I didn’t necessarily tell anyone what it was about. I thought there was something very real here.

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