My 2nd string quartet is one single slow movement. The piece does not directly reflect Joseph Haydn's ''Seven Last Words'' but I would not have been able to write it without knowing that work. The movements in Haydn's quartets (except the final earthquake) are slow movements of shocking forcefulness. What makes the work even more unsettling for me is the relaxed and cheerful acceptance of death (the 'smile' of the A major pizzicato thirds!). When I made myself familiar with the subject matter of crucifixion I discovered that terms like 'walking' and 'the last walk' were most important to me. My piece starts at the final stage of this experience. It contains a number of lost sounds, phrases of futility which come from nowhere and lead to nowhere. The horrifying rubbing and sanding of skin and wood become the 'theme' of the piece which is combined with tonal, choral-like melodies. I am interested in how to make noises no longer symbolize desolation and tonal phrases no longer represent c onfidence. - Jörg Widmann