In the summer of 1996, I met with David Harrington from Kronos Quartet in New York City.  We talked about music, and life, weather, food, and friends.  Soon after, I had a dream with a slow, ethereal string quartet soundtrack, that was visually represented as a glassy surface occasionally disturbed by sharp vertical elements.  This materialized in the form of the last, fourth section of the piece and it took eight months to finish the entire work.  At the time, I was moving back to Serbia after a year in San Francisco, and in that transitional phase work on the quartet seemed to be the only stable and grounding element.  The subtitle of the piece “Sketches on Pendulums, Loss, Autism, and Nine Places” refers to a kind of uprootedness emphasized by both my constant travels that year and the return home that did not look the same after my experiences.  The “nine places” are quite literally the locations in which I composed the quartet:  NYC, San Francisco, Menlo Park, Novi Sad, Sombor, Amsterdam, Fruska Gora National Park, Kopaonik Mountain, and Belgrade. 

    The quartet was premiered by Kronos Quartet at the Vienna Staatsoper in July 1997 with, incidentally, then First Lady Hillary R. Clinton in attendance. 


String Quartet No. 2