French violinist and Late Romantic composer Henri Marteau [1874–1934] wrote three string quartets. I am going to discuss No. 2 as it has been recorded several times. All of Marteau’s quartets are characterised by a richly sonorous, sometimes introspective nature.
A thoughtful solo violin opens the work with a gently sweeping melodic line, which continues even as the second violin is heard in a similar mood. This brief introduction leads into a full, ensemble chord and a rhythmic section in a minor tonality, eventually settling into a lyrical violin line that sometimes returns to the opening sound. The music now features two violins, with the viola and cello eventually presenting a gentle accompaniment. A pause introduces a soft pizzicato cello line, before the music gathers in forces and a tempo is heard – this is a joyous sound. The timbre and role of the violin has thus far been mostly constant but now it moves into a more aggressive phase, which doesn’t last. It evokes the opening again and the violin is solo for longer than the first exposition. Nuanced, lilting ensemble playing slowly emerges and the sound of four voices makes for a wonderful passage, filled with Romantic expression. This sumptuous sound continues for some time, before moving into a strangely harmonised section. Now the pizzicato cello returns, and it swaps phrases with the violin. This leads to a rich sound, somewhat introspective and very beautiful. It could be the final movement in a piece, and leads to a very consonant ending.
The next movement, marked scherzo, uses a combination of string effects, creating a very busy passage. There is much interplay here, and all instruments add to the texture. With the cello and viola in pizzicato, a mini-crescendo is achieved. A rapid, harmonised line is splendid. Now the tempo ceases and a warm passage of two lyrical, conversational violins has the music drifting into a mellow phase. The tempo returns to the sound of rhythmic bowed violins and a viola pizzicato. To me, it sounds a little self-mocking but it could be of its time, as it was written in 1905. A busy passage moves into a shrill violin, with a supporting viola bringing about a faded finish.
The third movement, marked andante sostenuto (one of my favourite moods), is set definitely in a minor tonality. A sustained opening pauses, and moves into a gentle, lightly sounding passage. This is most pleasant with melodic development adding to the effect. Now a tempo gently emerges and a lyrical violin is set free, with a soft, sparse melody. A change in harmony is very subtle while a return to the opening sound of sustained notes, coupled with a subtle ostinato from the viola, makes for a very pleasant sound. The sustained chords dominate this movement, with only several brief melodic passages to break it up. Nearing the end, a slightly harsh timbre is heard from the violins before a pizzicato cello leads to more sustained chords to end.
The opening to the final movement is totally different from all that has gone before. A peculiarly aggressive violin statement soon gives way to a return to the status quo for a time. This movement consists of a collection of short, forceful statements alternated with peaceful music, in tempo. For me, it never settles and sounds a little contradictory; the music is neither happy nor sad, but seems to constantly search for a middle ground. Some sombre sustained chords sound a little out of place until the first violin pushes the tempo again. The mood continues to oscillate until a powerful chord concludes.
I find all three of Marteau’s quartets to be attractive. This particular piece, paired with a delicate clarinet quintet, is on two CDs, neither of which are easily obtainable, although three CDs of the composer’s quartets are still available from Presto Classical. Amazon US and UK have them as downloads. These recordings are by the Isasi Quartet and the Marteau Quartet.
There are several quartets on Spotify and No. 2 is on earsense. Thanks to Kai Christiansen for pointing out that Nos. 1 & 3 on YouTube are synthesised and should be ignored.
Listenability: A magical work, with a slightly unsatisfactory final movement.