American Contemporary composer Aaron Jay Kernis [born 1960] has written at least three string quartets. The Second, titled Musica Instrumentalis, won him a Pulitzer Prize. I am going to discuss the First Quartet, titled Musica Celestis.
The work commences with a free flowing ensemble filled with gracefully expressive melodic ideas – some harmonised lines are very effective in their unique sound. A slightly chaotic passage ensues; hints of the opening melody flash in and out. A calm comes to the music and a solo violin expresses soulfully over gentle sparse ensemble sounds before the ensemble eventually comes to life with a slightly confronting passage. A brief pause brings about a change into a charming, melodic phase, which is interrupted by a pulsing viola, however, the melodic nature is maintained. This mood is sustained for some time, with occasional interjections of frenzied activity as the violins reach into the high register with a bird-like sense of flight; another frenzied interruption occurs. Now hints of the opening melody are heard, soon to be swamped with the energy of the ensemble, although they are still audible. The frantic feeling takes over, but a brief pause leads to a gentler scene, which doesn’t last. Nearing the end a solo cello statement leads the violins into a thoughtful section and again, hints of the opening melody are heard. The conclusion is a very moving piece of writing.
A composer marking, Musica celestis, which is the title, is found on the second movement. It opens with sustained chords, in an adagio fashion; quite spiritual really – low and slow, soft melodies are heard. There is a sense of ascension at times and the melodies are not far removed from those of the first movement opening, albeit at a much slower, gentler tempo. The violins reach out, as if searching for the heavens, and make for a wonderful soundscape. Now strong ensemble chords are heard and the violins respond with more energy. A new section unfolds, with the violins almost frantic in their endeavours as they reach into their high registers. A return to the spiritual feeling with delicate violin harmonies, again reaching into the shrill range makes for a fine moment. A long pause is followed by one violin meditating on a gentle mood – the end is two violins evoking a similar feeling.
The next movement is a short, pizzicato based romp. I must confess that I have never been drawn to the sound of pizzicato and rarely find it musical – oh well. There are almost random violin musings and the dynamics vary continually throughout. Strange interjections occur between violin passages and the pizzicato is mostly present. The end seems to be a random collection of notes.
The finale again, is not long but has a considerable amount of energy. One violin chases another, between frantic moments of pulsing rhythmic statements. Now a rapturous sound ensues, which is quite a surprise and almost incongruous; it doesn’t last and we have a return to the previous frantic activity. The cello introduces a brief fugue-like passage, leading into another section of a seemingly random nature. Finally we have some more peace as a violin laments over a quiet chord until the end comes with a flourish.
I am tempted to call this work neoclassical which was a movement in the early twentieth century formed as a reaction against the influence of Schoenberg et al. However, I would have thought that too much time has passed for this to be appropriate to works written in the 1990s. Kernis seems to draw from Classical and Romantic forms but his music still sounds Contemporary due to the way that he manages these forms.
The review CD contains String Quartets Nos. 1 and 2, performed by the Duke Quartet and is available on Amazon US and UK (US is cheaper).
They can be heard on Spotify, YouTube and earsense.
Listenability: A mostly mild Contemporary work.