American Contemporary composer Philip Glass [born 1937] has written at least seven string quartets.

The Third Quartet, titled Mishima, was written in 1985 and consists of six named movements. These movements were originally composed as part of a soundtrack to a film, Mishima – A Life in Four Chapters, which was in turn based upon a book by prolific Japanese author and playwright Yukio Mishima.

1957: Award Montage – Opens with a collection of harmonised rhythmic motifs that vary in dynamics, but never in tempo. Occasionally there can be heard a hint of what might be described as melody but I don’t think I would see it that way. The interest in this movement is basically the varying dynamics, with the concept being repeated to the end, which consists of six delayed notes – the last of which is allowed to fade out.

November 25: Ichigaya – This very brief movement consists of a slow, metric ostinato, with intermittent two-note melodic phrases inserted. It is all over very quickly.

Grandmother and Kimitake – Strong, rhythmic chords open this movement before it settles into a series of punctuating harmonised chords over a constant viola motif. A brief pause brings about an increase in dynamics and the motif slowly begins to take precedence as the intensity overall reduces. The end is a sustained chord.

1962: Body Building – A slight cello introductory note opens this brief movement, which leads into another ostinato. This is joined by further constant rhythmic interjections. The mood suddenly changes, bringing a return to the sense of the first movement, finally stopping on an up-stroke.

Blood Oath – With another motif-based beginning, the over-arching nature of the piece is resumed. Some moving cello sounds are heard and a change, mid-movement, has all instruments in a higher register, with constantly shifting harmonies. A return to a motif similar to the opening is heard before we again have a sharp stop.

Mishima/Closing – The movement begins with a two-chord motif over an ostinato and the first melody heard so far, played by a sparse violin, is briefly `expressed. After another ostinato period, the melodic violin returns, sometimes even responding to the shifting harmonies. The end is pared down to one instrument, slowly leading to a fade.

Now on to the Fourth Quartet, titled Buczak, written in 1989 and containing three movements.

Opening with strong ensemble chords, it evokes the introduction to Beethoven’s String Quartet No. 12. This segues into the characteristic style of the previous work, with harmonised, rhythmic motifs prevailing. Now sporadic violin notes are heard – I’m not sure that they could be called a melody, but they do change with the harmonies. For a time the violin part drops out, only to return later. A not so brief pause leads back to the introductory chords, in a powerful manner. This passage is followed by more insistent motifs, with more dynamic variations between instruments which changes the sound of the passage. The end is unexpected, maybe.

The next movement begins with a solo violin floating over a slightly rhythmic, abstract harmonic background – this is a fascinating passage, the solo violin being almost flute-like in its texture, creating a mysterious emotional space. A change to a sparse violin line, over a slightly more insistent two-chord rhythmic motif, has the violin following the changes in the accompanying harmony. This continues for some time until the seeming obligatory, perfunctory finish.

The final movement again opens in a chordal manner, leading to yet another ostinato. This whole section is repeated, but when the ostinato begins, it signals the introduction of a sweeping solo violin melody. Now a rise in dynamics gives way to an emphasised pulse. Another, not so brief pause commences a passage of the solo violin again expressing a melody over a constant harmonic underpinning. The propulsive emphasis returns for a time, only to lead back to the introductory section, with the violin this time a little more rhythmic and the cello providing some melodic interest. Various motif-based passages unfold, usually returning to the opening chordal section. Nearing the end, the violin predominates one more time before the work concludes at the end of one instance of a motif.

For over 200 years, music has usually been defined as having three major elements – melody, harmony and rhythm. Over time, further characteristics including dynamics, texture and form, amongst others are now routinely used. So do these works represent music? I’m not particularly familiar with the other works of Glass, but I believe they do. Contemporary composers have come up with new musical languages – in Glass’s works, I would class them as Minimalism, which often places little, or no emphasis, on melody.

Interestingly, I have experienced the Phillip Glass Ensemble live, and the music presented was so loud and distorted that I doubt that even the most ardent fan of Glass could have defended it. The sound was nothing like the measured, pristine nature of his recordings, but more a cacophony of noise. Caveat emptor – let the buyer (listener) beware!

The review CD, titled Glass: String Quartets Nos.1-4, on the Naxos label and performed admirably by the Carducci Quartet is freely available at a nice price. Several other versions can be found on Amazon US and UK, including Kronos Quartet and the Smith Quartet. Brooklyn Rider have recorded the comparatively new Quartets Nos. 6 and 7.

All of the above-mentioned CDs can be found on Spotify, and there are many performances on YouTube. Quartets 1 to 5 are on earsense.

Listenability: Not to everybody’s taste, but he does have a large following.