Spanish Catalan Modern Contemporary composer Roberto Gerhard [1896–1970] wrote two string quartets. Apparently there are three earlier works, which are considered lost. The third was later modified as the Concertino for Strings.
String Quartet No. 1, in four movements, opens with an expansive chord, slightly dissonant, which increases in volume. A strong cello underpins some atonal melodic development – this is a very 1950s modern sound. Some string sound effects accompany a rather raw toned violin which eventually moves into a busy phase, until the cello returns and the violins construct atonal melodies around it. There is prominent pizzicato that adds to this mysterious feeling and a tension which develops as the individual instruments dialogue and push the music forward. Eventually the tension dissipates, but the underlying feeling remains – very abstract. The dynamics rise and fall, all the while continuing with an almost random note selection. There is a little rhythmic emphasis nearing the end and a scurrying passage of two violins leads to a final chord.
The following movement is rather brief and commences in a sparse manner. Soon the feeling is similar to the first movement, with small sections of interesting moods for two violins. They follow the same melodic line, with each applying variations. The end is another scurrying passage, milder this time, that just stops.
The third movement begins with a slightly screeching chord, but it’s not loud. There is a definite change from the first two movements in that things occur rather slowly. There are many long chords, played by overlapping instruments – also many string sound effects. Dissonant harmony abounds as the chords reach out for something and a deep, resonant cello adds to this soundscape. Long notes form sustained chords that evoke a mystifying section that ends on one long violin note. I should mention that this movement is extremely quiet, I had to increase the volume considerably to hear its nuances.
The final movement opens sharply but soon develops into an agitated section of atonality and random pizzicato interjections. This is another abstract soundscape, however, it is in no way aggressive, just filled with scurrying violin sounds and seemingly random cello intrusions. There are some rhythmic punctuations, especially nearing the end. A very pulsating cello appears, with a tone indicating that it is being struck very powerfully. This brings on a short, loud phase which quickly gives way to a soft violin dialogue which staggers to a conclusion.
String Quartet No. 2 is in seven movements, generally very brief, so I am going to consider it mostly as a whole. A long violin tone introduces the work – there is very little input from the ensemble here. Slowly the second violin drifts in and there is a powerful cello interjection. A loud chord is heard and some string sound effects from the cello lead into several dissonant chords. Now pizzicato takes over and wispy violin statements follow. A quiet passage has the two violins in a dialogue as pizzicato jabs permeate their conversation.
The fourth movement, by far the longest, evokes the First Quartet in that sustained solo violin tones are the prominent feature. This music is very sparse and there is little interplay; sometimes there are silences, but the violin always returns. Occasional atonal chords are heard but it is basically another case of a desolate soundscape.
Dominant string sound effects return, before a section with a short, rhythmic violin motif. There is some skipping cello and various pizzicato explorations which lead into an agitated mood. This becomes tempered but the sound overall is still quite dissonant. Pulsing violins create a rhythmic ostinato, with various atonal thrusts leading to the conclusion, which is one cello note.
I would characterise this music as being very modern, although the two works were composed in 1950 and 1961, respectively. They both contain a high level of abstraction, dissonance and entropy. As previously discussed, I enjoy this type of music, except when it becomes overwhelmingly aggressive or dark. This is not the case with Gerhard.
The review CD, titled Gerhard, R : String Quartets Nos. 1 and 2, performed by the Kreutzer Quartet is available on Amazon UK. An alternate version, by the Arditti Quartet is available from Presto Classical and as a download from Amazon US; they also have some New and Used.
Several versions are available for listening on Spotify, YouTube and earsense.
Listenability: Difficult for some.