Lithuanian Late Romantic composer Mikalojus Konstantinas Čiurlionis [1875–1911] wrote just one string quartet, in the key of C minor. I have only recently discovered the work of this composer, who was also a painter and a writer. Much of his music was destroyed during WWI, but three movements of the quartet survived – it was written in 1903.
The work opens with a strong cello motif, as the violins dance around its throbbing strokes. An even louder cello leads into a serious, rhythmic passage which then breaks free and enters an open space. All instruments contribute to this short section. A sense of drama is frequently experienced, with the music often based around the opening cello phrase. Now a lighter moment has the violins prancing, with the cello motif mostly present. Some explosive passages are littered throughout the movement, but they are always quickly tamed and the development goes on.
A variation on the opening motif is discarded for a time but returns in the violins, together with some intense, sweeping phrases. This is music of constant variations and many moods. An uncharacteristically pastoral section is the signal for a false ending – there are several substantial pauses nearing the end of this movement. The cello motif is again harmonised, this time at volume, creating a sense of rhapsody with its sweeping violins. Again we have a hint of an ending, and a pause leading to a measured passage. The contrast is very strong throughout and I hear occasional hints of other composers, for example Grieg and Dvorak. The end is a summation of that which has gone before, with the cello motif having the last word, at volume.
The next movement, marked andante, has a lush set of harmonies that support an expressive melodic line. The contrast with the preceding movement is strong with the music barely moving from the sublime. Eventually, the mood gives way to some impassioned violin, harmonised by the cello as the music moves through several busier passages. A tortured violin sound drops into a section of various melodic lines over a pulsing cello as the movement grows in intensity. Again there are strong contrasts heard and a pastoral passage is very pleasing. The end is particularly consonant.
A brief final movement is folk-like as well as dance-like, but this image applies to long forgotten dances. I can’t believe the composer has reintroduced the cello motif from the first movement. Two violins are impassioned, then gentle as they dabble in that motif. There is however, a prominent melody that recurs regularly. This is given a set of variations which again lead to a somewhat unexpected conclusion. Perhaps there was originally another movement that disappeared.
A further work, Theme and Variations in B minor for String Quartet from 1899 is a substantial piece and is more measured than the later quartet. The composer gives full rein to his Late Romantic stylings and it complements the quartet beautifully. There are also several incidental works for string quartet.
Čiurlionis’ relatively short life produced 400 extant works, these coupled with his painting and writing. His musical scope was vast and his solo piano pieces and orchestral music are very fine. This quartet came just before much change at the turn of the century but his lyricism and ability to create seemingly endless variations is his strength.
The review CD, Complete Music for String Quartet performed by the Vilnius String Quartet seems to have been issued on several different labels, one of which is Northern Flowers. It sometimes appears on Amazon and is currently available at PrestoClassical.
The work can be found on Spotify, earsense and YouTube.
Listenability: Entertaining Late Romantic fare.