Bringing George Lynn’s Music to Life: String Quartet No. 3

Introduction
George Lynn was a multifaceted musician, instructor, and composer whose legacy left a lasting impact on the music community. His journey began in Wilkes-Barre, Pennsylvania, where he studied piano and organ at a local seminary. Lynn’s passion for music led him to enroll at Westminster Choir College in the 1930s. Although his studies were interrupted by World War II, he returned from his service and joined the faculty at Westminster Choir College. Shortly after, he accepted a teaching position at the University of Colorado Boulder (CU Boulder), where he dedicated himself to teaching and composing until his passing in 1989. His extensive library of compositions is now housed in CU Boulder’s Rare and Distinctive Library Collection (RAD), preserving his work for future generations.

Discovering Lynn’s Works
Exploring Lynn’s collection at the RAD revealed his prolific compositional ability, with his music spanning across a diverse range of instruments and ensembles. Given my own interest in bluegrass music and Lynn’s Swedish heritage, I was particularly curious to discover if any folk elements appeared in his compositions. While I did not find any direct Swedish motifs or any music with traditional instrumentation, his engagement with church music traditions likely influenced the harmonic and structural elements of his compositions. 

Lynn’s music often features rich polyphony and extended melodies supported by chordal harmonies. Fostered by his deep understanding of vocal writing, his compositions expressively resonate and create textures that evoke both depth and clarity. 

As a double bassist, I focused my search on works that could be adapted for my instrument. Unsurprisingly, I discovered that Lynn had not composed any music specifically for the double bass. This is often the case, as the instrument is traditionally viewed as a supportive rather than a solo instrument. Forced to change directions, I looked for works written for cello or bassoon, as both are frequently transcribed for bass. While I found several suitable pieces, they were relatively short, and I was drawn to finding a more ambitious project. That is when I came across his five string quartets.

Adapting Lynn’s String Quartet No. 3
Each of Lynn’s string quartets possesses distinct characteristics, but the bright, moving
melody and playful interplay between the instruments in his third quartet particularly stood out. While the music’s harmonization complemented the melodic lines, much of the writing was concentrated in the lower registers of each instrument. This observation led me to reconsider the quartet’s instrumentation and explore the possibility of adapting it to a more accommodating arrangement.

I started by transcribing Lynn’s String Quartet No. 3 from its handwritten manuscript into digital notation and then created an arrangement for violin, viola, cello, and double bass. The inclusion of the double bass enhanced the resonance and depth of the lower-register passages, while still supporting the light melodic lines. Additionally, this arrangement contributes to expanding the limited chamber music repertoire available for double bassists. 

Arranging this piece was like solving a puzzle, as each part had to fit together to create a cohesive whole. Some moments were straightforward, falling easily into place as they simply needed to align with the natural contour of the music. However, other sections proved more challenging to integrate. These moments tested both my creativity and understanding of the music, requiring careful thought and adjustment to make seemingly incompatible elements work together. It was a process of trial and error, but the solutions that emerged allowed the music to take on a new and exciting dimension.

The Recording
I had the privilege of collaborating with colleagues from CU Boulder’s College of Music (listed below) to record a performance of the newly arranged version of Lynn’s String Quartet No. 3. We were fortunate to record this project using CU Boulder’s facilities, which provided the ideal setting to capture the lyrical and dynamic interplay between the instruments. Throughout our rehearsals, we engaged in discussions regarding musical phrasing, tone, and expression, while taking into account the unique instrumentation. Adjustments to the bowings, dynamics, and articulations were made to better align with the flow of the music. These adjustments resulted in a more balanced sound, while still honoring Lynn’s original writing.

 There is no definitive evidence that the original quartet was ever performed, leaving us without any material to guide our approach. Without a clear reference point or insight into Lynn's intended vision for the work, we had to rely entirely on the manuscript and our understanding of his compositional style. This situation presented both a challenge and an opportunity. On one hand, we faced the uncertainty of potentially misinterpreting the work; on the other, it allowed us to approach the music with greater creative freedom. We had to trust our musical instincts and make informed decisions based on the structure and style of Lynn’s writing. Ultimately, this process enabled us to shape the music into a strong performance.

Conclusion
This project has been both a personal and academic journey, deepening my understanding
and appreciation for George Lynn’s career and compositions. The insights gained from studying and working with his unique musical voice will also serve as a source of future inspiration for my own compositional approach. Reviving and bringing new light to Lynn’s String Quartet No. 3 has been incredibly rewarding, and I hope this music not only returns to circulation but also inspires musicians to continue performing his works.

Performers
Jordan Grantonic, violin
Shelley Armer, viola
Sophie Stubbs, cello
Kurt Melendy, double bass