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Chamber Music Forum: An Introduction to the String Quartets of Ben Johnston

C ha m be r M us ic F or um Ben Johnston’s (b. 1926, Macon, Georgia) enigmatic string quartet cycle constitutes a milestone in 20th Century chamber music.1 But the works are rarely performed. While the compositions’ thorny rhythms are likely a deterrent for many performers, what ultimately keeps this music out of the repertoire is Johnston’s bold exploration of pitch and harmony. All but the first of Johnston’s 10 quartets are written in extended just intonation (JI), a scheme that not only requires a developed sensitivity to the subtle nuances of the overtone series, but also a head for mathematics. Fueled by an early interest in Debussy, the acoustical studies of Helmholtz and ignited by contact with iconoclast Harry Patch, Johnston has dedicated his artistic life to the exploration of musical proportionality as it relates to pitch, rhythm and form. His work invites us to consider what might have happened if Western music had embraced the anomalies of the harmonic series rather than manipulating it to fit the limitations of keyboard instruments. The quartets open a path into an uncharted tonal future. The final movement of his 10th quartet, for example, is a virtual travel log from then to now—a set of variations beginning in a Renaissance style and progressing forward through the centuries into a parallel musical universe. This article offers a brief introduction to the JI system of Johnston’s string quartets, my experience working with the composer, strategies on how to approach this repertoire, and reflections on teaching these pieces to college-level students.