American Contemporary composer Michael Ippolito, [born 1985], has written four string quartets. The Second and Third are on the review CD. I am going to discuss them both.
The Second Quartet, in four movements, opens with a solo violin projecting in a jabbing, rhythmic manner. This is followed by a cello statement in a similar mood. Soon the cello moves into a supporting role and the intensity remains. A final sweep from the violin leads to a not insignificant pause. Again we have a brief solo violin section which is dark and mysterious, and most alluring. The second violin joins the first and a period of long held tones prevails. Several short pauses interrupt the flow of this bare section. A series of long arco, roughly hewn cello tones is sparse but very expressive. Out of this rises the first violin with scratchy interjections before it takes flight with a frantic intensity. Various instruments complement the violin in a rhythmically incisive passage which borders on chaos. Now the violin goes it alone and fashions a dialogue with itself by moving between registers. With a little more support from the ensemble, the violin moves to a final flourish.
The next, lento movement again opens with a slow, moody solo violin passage – the sound here is fascinating, just so sparse and lonely – it is a beautiful piece of writing. The violin employs double-stops (playing more than one string concurrently) and the sound positively limps forward for a time. I should mention that the music is very soft here. Now, a second voice leads to a more animated section, again with a sense of the frantic. Cello interjections begin to be heard and the feeling is most unusual as the violins cry out, only to retreat to the sanctuary of the earlier mood. A lone violin leads, via a strange collection of seemingly unrelated tones, to an unusual sounding, calm finish.
Further solo violin interjections begin the final movement and the other instruments fall into line. A section of frantic violins leads into a more measured, although still mysterious mood. A sharp stop reveals a gentle pizzicato sound, which is most banjo-like. Occasional forays from the other instruments play out over this unusual pizzicato mood. Glissandi can be heard in the background and the pizzicato violin eventually stops. An agitated passage gives way to a solo, pulsing violin, with a strange rhythmic accent. Other instruments dart in and out, in a chaotic manner. A solo violin starts the process again, with several insistent sections. The conclusion is unexpected.
To me, this work is a journey, mainly driven by the relentless first violin as it guides the ensemble through many mood changes.
The Third Quartet, titled Songlines, is half the length of the previous work and is in one movement. A mournful violin expresses a slow melody, against a drone of string sounds. A pause leads back to the opening melodic phrase of the piece. This time however, the violin extemporises, with a slightly ethnic touch to the sound. A beautiful, descending harmonised violin line is very precious. Murmuring utterances from the cello interrupt the mood for a time, until it takes on new life with powerful violin lines which positively speak out. A return to a violin over a drone accompaniment doesn’t last and the cello parries with the violin, which appears to win the encounter. A fierce, sustained violin leads to a fascinating stilted mood with the violin rising to great heights. All the while, the cello is creating havoc. Nearing the end, a strange harmonised duel turns into the frantic, before ending on a chord.
Coincidentally, this quartet also has a connection with a journey. I came across this on the internet:
“Songlines” is a deeply moving work that draws on elements of nature, creation and ancient Australian Aboriginal spirituality. In Michael’s words, the quartet explores humanity’s “nomadic past, the nature of restlessness and the poetry and universal appeal of ancient animist beliefs.”
This was a bit much for me but I thought it was of interest…
As if this wasn’t enough there are also four short pieces for string quartet on the CD. Taken together, they run for 25 minutes in total. If you are looking on YouTube or earsense it probably helps to know their names –Trace – Big Sky, Low Horizon – Smoke Rings – This Circle. These semi-miniatures inhabit the same soundspace as the two discussed works.
I hesitate to use the term unique, as to me, it is fairly rare in the string quartet repertoire. However, I believe Ippolito is, with his strongly consistent, but different approach.
The review CD, titled Songlines, by the Attacca Quartet on the Azica/Naxos label is available from Amazon US and UK.
This CD is on Spotify, and all works can be found on earsense and YouTube.
Listenability: Fascinating Contemporary soundscapes.
Very nicely expounded jh.