Goya's Dog Cover Image

Goya's Dog: String Quartet

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Goya's Dog Cover Image

Goya's Dog: String Quartet

for String Quartet

By Judith Bingham

Level: Advanced

Item: 98-EP73546

$77.00
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Description

Goya’s Dog is a 14-minute, four-movement work; in each movement the composer responds to one of Francisco Goya’s prints and paintings of animals. In movement 1 (‘The Dream of Reason and the Imagination: owls, bats, a cat and a lynx’), Goya is asleep with his head on a table, around him is a cloud of owls and bats. Movement 2 is ‘The Duchess of Alba’s lapdog: one small white Bolognese’; the dog looks folorn, surly even, while the Duchess is taking a proud flamenco pose. Movement 3 ‘Goya’s Dog: the head of a dog’, describes the dog’s mournful and desperate expression, as it rises above what could be quicksand, or a wave. In movement 4 (‘A Bull Stands his Ground: a fighting bull’), a bull stares, unfazed, at the four men who threaten him with spears: two fighters are already dead at his feet.



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Additional Details
Series: Edition Peters
Publisher: Edition Peters
Page Count: 64
ISBN10: 0-577-02553-8
ISBN13: 979-0-577-02553-7
UPC: 9790577025537
SKU: 98-EP73546

More about this title

About the Composer: Judith Bingham

Judith Bingham is a British composer whose music frequently draws on visual art, literature, and cultural history as compositional starting points. Her works span chamber music, orchestral writing, and vocal literature, and she has developed a distinctive voice that combines detailed musical craftsmanship with vivid extramusical narratives.

Why we love this

Bingham transforms Goya's darkly compelling animal imagery into a quartet that feels genuinely theatrical without relying on program notes to land emotionally. Each movement presents distinct musical characters and technical challenges, making this an ideal vehicle for advanced ensembles ready to dig into contemporary writing with real substance. The 14-minute span and four-movement structure give it weight and presence as a concert statement.

What to expect

Goya's Dog feels haunted and introspective by turns, moving from the unsettling nocturnal anxiety of the first movement through moments of poignancy and defiance. The music honors Goya's obsession with animals as reflections of human emotion and desperation, creating an arc that is both viscerally theatrical and deeply introspective.

Who it's for

Advanced string quartet ensembles with solid contemporary music literacy and the musical maturity to engage with narratively complex material. This is ideal for groups comfortable with extended techniques, shifting textures, and pieces that demand as much imaginative interpretation as technical precision.

How to get the most out of it

  • Establish visual clarity between movements by treating each animal subject as requiring its own tonal palette and textural approach; the owl-haunted dreamscape of movement 1 should feel atmospherically distinct from the bull's defiant stance in movement 4.
  • Pay close attention to balance in the interior lines (viola and second violin); contemporary quartet writing often distributes melodic material throughout the ensemble rather than centering it in the first violin.
  • Map out the ensemble's response to Goya's psychological content rather than just the surface gestures; the lapdog's forlorn expression in movement 2 requires a different emotional temperature than the bull's unflinching gaze in movement 4.

How to use it

This work functions beautifully as a centerpiece for a contemporary chamber concert or as a substantial second half anchor. Pair it with earlier quartet repertoire to show stylistic range, or program it alongside other works inspired by visual art to create a thematic evening.

Skills your students will build

  • Reading contemporary notation and extended techniques in quartet texture
  • Balancing multiple simultaneous melodic lines while maintaining overall ensemble coherence
  • Responding to extramusical imagery and translating narrative intent into musical interpretation
  • Sustaining ensemble focus and intonation through shifting harmonic language and textural complexity

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