I have never reviewed a composer from Latvia before but was pleasantly surprised when I came across this 2-CD set on Spotify. It contains string quartets by eight composers, none of which I was familiar with. These works were composed between the years of 1932 and 2005 – sounds like my kind of music.
Jānis Ivanovs [1906-1983] composed three string quartets. The First, in three movements is from 1932.
Opening in an andante tempo, we have a folk-like melody over a sheet of quivering strings. This melody is slowly developed until it comes to rest, consonantly. A more vigorous passage follows, with a similar melody but now the accompaniment is a series of harmonised lines, which become almost frenetic, before another pause. An ostinato is introduced, with a return to the opening melody in the violin part. Another pause brings about a sumptuous section, and a very sweet sound. For the first time, a rhythm is presented and quite chaotic it is too. Moving into a sustained background, some pizzicato strokes give way to more gentle melodies. A feature of this movement seems to be constant change as the earlier ostinato re-occurs. First lamenting, then slightly positive, the violins reach out and introduce another section of stunning melodies. Nearing the end, the rhythm returns and closes out on a strong march-like section.
The second movement, again marked andante, reveals a strongly melodic character which is slowly transformed into one violin expressing over a series of unpredictable pizzicato strokes. As in the first movement, there are constant pauses and mood changes. One of these is a powerful set of harmonised lines, almost funereal. A return of the previous pizzicato section, with the violin expressing what may be a folk-like inspiration, drifts straight into a gentle, sombre passage ending on a sustained chord.
The final movement begins with a solo cello before a strong rhythm develops. Now the cello repeats a deep motif which drives the music forward and a frantic passage adds further impetus. Eventually the tension is resolved and a strongly harmonised violin line is heard over a minor key accompaniment. Again the music surges amidst strong interjections until the mood tends to the romantic and, as always, is subject to constant change. The conclusion is dynamic and assertive, with a dramatic final few bars.
Paul Dambis [born 1936] composed his Fifth Quartet in 1983. It is in one movement and considerably more modern than the Ivanovs.
Pulsing cello pizzicato strokes set up a strange sound world as the violins plead to be heard, with furtive phrases. The cello varies its function and the violin responds. Suddenly a gentle melody with mild harmonies emerges – this melody is developed and frequent changes in harmony lead to many interesting moments. A pause brings about a two-step feeling, which moves into a frenzied moment, and then another. The next passage is dance-like, in a gentle manner – definitely not music of its time. We are soon back in 1983 with glissandi being used extensively to support a powerful cello statement, which is then harmonised by a cello voice. This is quite a fascinating passage that gently accelerates in tempo before dropping back to the solo cello. Now follows a harmonised version of a melody I know as All Through the Night – again, strange music for 1983. A pizzicato statement of this melody borders on self-mockery. And so it ends, leaving me wondering.
Of course, this 2-CD set contains quite a deal of variety in its 136 minutes duration. A piece by Imanst Zemzaris [born 1951] is titled Before the Snow for String Quartet and prepared piano. I couldn’t detect any keyboard sounds in this sometimes intense, Latvian romp. On the other hand, Maija Einfelde’s [born 1939] Three Songs to the Dying Sea from 1993, features a strong part for clarinet in a slightly aggressive work.
I should mention that some of the works are recorded live and several other works also don’t sound like high quality recordings.
This set is on Amazon US and UK as a download only, which may be fortuitous as, if you listen to them, you may find something worth downloading. I have no problem recommending the set as I am drawn to the European sensitivity evident in these works.
It can be heard on Spotify, and YouTube, which does not show the names of the composers. Both discussed works are on earsense, at Ivanovs and Dambis.
Listenability: A mainly non-confronting series of quartets.