American Contemporary composer Vincent Ludwig Persichetti [1915–1987] wrote four string quartets.
The Third Quartet, which is in one movement, opens with a shrill solo violin, which may be using harmonics for effect. The second violin joins the sombre atmosphere and assorted cello sounds are heard. There are also some pizzicato viola strokes. The shrill violin persists, while the other instruments subside. There is absolutely no tempo until the feeling changes to one of mild rhythmic chaos. All instruments are now present, in an ambient, abstract mood. Now we have a return to the previous rhythmic interchanges, which slowly morph back into a section for the two violins. They lower the intensity and produce a slightly dissonant passage, which is quite becoming. This turns out to be an extended phase, with just the two violins meandering. The violins suddenly intensify, and the ensemble gather for support. The violins continue with their random musings; the feeling is quite strong. Now there is a chaotic scene where the violins fire out rapid phrases, and engage with the cello, which becomes the dominant voice for a time. The insistence dissipates and a solo violin is heard, with interjections from the ensemble.
An abstract passage follows with a walking cello, jazz-style and viola pizzicato gestures. The violin duo return, with a subdued section, and the ensemble makes for short stabbing statements. The walking cello resumes and the violins continue with their mildly dissonant exchanges. Soon they are on their own and carry on with a random discourse. The cello picks up on an implied tempo and makes its own random sounds. It then moves into positive statements which reduce the intensity back to a drone with sparse violin sound effects. A pause brings about another change as the violins are once again energised; the mood is almost combative. The violins combine in a fascinating section as they intertwine with mildly abstract phrases. A return of the intensity leads to a melodious passage, which is complemented by abstraction in the background. Dynamic violin phrases occur until the cello goes solo. The violins are very sparse here and produce a tender moment. The end is a sustained chord with intermittent cello notes
This is a mildly modernist work, with the moods constantly changing, but the basic emotional nature covers only a handful of different soundscapes.
There is a definite progression in the composer’s string quartet output. Nos. 1 and 2, written in 1939 and 1944 respectively, are in an approachable style. The Third, from 1959, shows a significant progression into modernism, while the Fourth, from 1972 is slightly confronting and quite abstract. It is also a named work, the tenth in a series of disparate compositions titled Parable X. The other Parable compositions are for various ensembles; for instance, Parable II is for brass quintet.
The review CD titled Persichetti: Four Quartets and performed by the Lydian String Quartet is available on Amazon UK and Presto Classical. It can also be heard on Spotify, earsense and YouTube.
Listenability: The music features a profound progression from the early works to the later, fairly modern style.