French Early Modern composer Darius Milhaud [1892–1974] wrote 18 string quartets. I was moved to examine this work after reading a review of Milhaud’s complete string quartets from British Classical Music magazine, Gramophone. The writer did not respond to Milhaud’s charms and put both the two quartets that I have discussed under the heading, ’Possibles’ – they didn’t even make the recommendations list. At least some complimentary reviews by other writers can be found there.
A lone violin opens this work, musing its way through an angelic mood. The opening motif uses the same rhythmic phrasing as the opening of a Beethoven Late Quartet movement – even though the notes are different, it still evokes the Beethoven phrase in my mind. Now the ensemble slowly blends and a tempo ensues, leading to congenial, major key music, with a positive intent. The tempo relaxes and there is an exchange between all players until a violin soars and leads the ensemble back into tempo. The feeling is warm, almost pastoral with the violin prominent. To me it sounds American, and I’m not sure why – perhaps it is the sense of open spaces that the early American quartet composers were fond of. The opening phrase is now heard again, this time leading into a new, poignant rubato feeling, which ends with a brief solo violin statement.
The next movement, marked lent (lento) commences with a series of subtle, evenly spaced ensemble chords, again in a rubato manner. The feeling is transcendent as melodies are only hinted at, due to the heavenly, harmonised nature of the music. This is a fascinating other-worldly passage, with very little melodic development, but featuring wonderful harmonies. A serious sounding chord breaks the mood and a minor key intensity unfolds, as the spaces between the chords become longer. Now a melody emerges and the ensemble gather together in a complementary manner. The music, which has virtually come to a standstill, slowly begins to develop some forward movement. New chords are heard and the minor gives way to a hint of the major again – this is a stunning piece of writing – I could listen to it forever. The mood finally dissipates and the last handful of violin notes are very precious.
The final movement begins in a stirring fashion, quite dynamic, before settling into a wonderful cacophony of assorted uplifting violin phrases, often returned in kind by the other players. A rhythmically busy passage has the violins virtuosic, and yet still retaining a sense of joy. There is much interplay with all members constantly pushing the music forward, to a final flourish.
The work, written in 1945, is 33 years and emotionally, a long way from the previously discussed buoyant First Quartet. My review copy is by the Quartetto Italiano, I would think from the late 1950s or early 1960s, as the sound of the recording has an historical quality to it.
This version is no longer available but Amazon UK has a CD titled Quatuors à cordes Nos. 3, 4, 9 & 12, performed by the Quatuor Parisii, who have recorded Milhaud’s complete quartets on five discs for the French Naïve Classique label. This CD is the last remaining, all of the other four are only available as digital downloads. This may be your last chance to obtain a Milhaud Quartet recording.
This quartet, along with many others, can be heard on Spotify, earsense and YouTube. earsense also has some other fascinating, incidental works for string quartet by the composer.
Listenability: A brief, but wonderful experience, but then again, I am very fond of Milhaud’s quartets.