String Quartet No. 2: Reconstruction

String Quartet No. 2: Reconstruction, Damien Geter (2025) 15'

To commemorate the 250th anniversary of the signing of the Declaration of Independence, I chose to reflect on a pivotal period in American history that began with great promise but ended in disappointment. The Reconstruction Era (1865–1877) marked a time of rebuilding and reunification after the Civil War and the abolition of slavery. It was characterized by significant political, social, economic, and legal efforts to establish Black Americans as equal citizens, with the same rights and protections as their white counterparts. During this period, the nation witnessed remarkable advancements in voting rights and an unprecedented rise of Black leaders in political office. Yet, despite these achievements, Reconstruction’s progress was short-lived. The Compromise of 1877 effectively brought the era to an end, dismantling many of its reforms and paving the way for the oppressive Jim Crow era that followed.

Mvt. I, 1865: Facing the Rising Sun
1865 marks the beginning of Reconstruction — a time filled with the promise of a new dawn. (Facing the Rising Sun draws its title from James Weldon Johnson’s poem Lift Every Voice and Sing.) The movement is built around a seven-note melody, which should be performed brightly and with a sense of anticipation. This theme reflects the deeply rooted beliefs that existed prior to Reconstruction, while also embodying the hope and potential for transformation. As the piece unfolds, the melody traverses through moments of tension and struggle, symbolizing the challenges inherent in pursuing lasting change. The ostinato at measure 26 emphasizes the relentless effort and perseverance needed to implement new policies and achieve progress. In measure 70, after periods of unrest, we finally witness the rising sun in musical passages that ascend higher and higher as we approach themes from the first section. However, this time, they are played with greater spirit, as the ostinato
from earlier transforms into a march towards freedom.

Mvt. II, 1867-1873: Emancipation
The years spanning from 1867 to 1873, was the height of the Reconstruction era. The second movement, Emancipation, adopts a verse-chorus form. Each instrument freely “sings” its verse, narrating its own tale of liberation. This is followed by a chorus reminiscent of the congregational humming or chanting of work songs or spirituals, symbolizing solidarity and unity. However, a few instruments, particularly violin II and cello,
harbor doubts. As the movement progresses, the music from their verses is gradually introduced towards the end, signaling the impending decline of Reconstruction.

Mvt. III, 1877: Freedom O(w)ed
Reconstruction concluded in 1877. The title, “Freedom O(w)ed,” suggests a dedication or remembrance of the past and a declaration of what was promised. To musically convey this loss, I chose a lament bass, but placed the lament in the tenor voice, or viola. This musical lamentation symbolizes the country’s and Black Americans’ weeping, as their promise of freedom and progress was abruptly halted due to the Compromise of 1877. In measures 21-22, the first violin “sings” the word “remember” above the ensemble, drawing inspiration from a melodic line borrowed from Purcell’s Dido’s Lament, and also from myself building on music from the first song in my song cycle, Cotton. The quartet concludes with the first violin and cello on seemingly opposing harmonics, representing the country’s stark, empty state, and uncertain future, dissolving into a void. The viola has the final say, echoing the word “remember,” a motif that recurs throughout the movement.