The second movement begins with a nearly literal quotation (it is re-orchestrated and one pitch has been altered) from the final movement of Janáček’s second string quartet. Janáček’s two quartets stand beside Bartók’s six as the most significant contributions to the repertoire in the first half of the twentieth century. My movement recalls another early twentieth century composer: it is in a Mahlerian sonata form, in which the exposition is grossly out of proportion to the recapitulation, and the development, while using some material from the introduction and exposition, is dramatically and, largely, thematically its own.