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Fong's violin gradually assumes more control over the quartet, leading it into imitation, sparking its tempo, and supplying high-pitched notes in dissonant tutti chords.
Even in the tutti sections, the instruments say only as much as they need to.
The slow movement dares much with bare textures, interrupting tutti passages with one instrument singing the remnant of a song.
Words are clear, and the hymns, presented in their entirety, are imaginatively varied in terms of solo, a cappella, sectional and tutti singing.
Such movements were characterized by the alternation and contrast between solo and tutti sections, the tuttis being based always on the same material.
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