Russian Romantic composer Alexander Borodin [1883-1937] wrote two string quartets. I have previously discussed No. 1, which can be found here.
The Second Quartet commences in a most lyrical fashion – Borodin was surely a master melodist. A series of wonderful overlapping violin lines constantly refers back to themselves, with the cello also reminding us of earlier melodies. A brief section of pizzicato accompaniment leads into a more forceful section where the violins combine to wonderful effect. A pause allows the cello to allude to the first theme and the violins soar above it with great ease. An extended section has the violins again expressing lyrically before returning to a recapitulation of the main theme – this is stunning writing. The violins withdraw slightly, allowing the cello to exert a melodic presence. Now another pizzicato passage leads the violins into a slightly darker mood, although it never wanders far from the intrinsic beauty of the movement. Another series of positive overlapping violin melodic lines leads to a gentle finish.
The next, slightly shorter movement is marked scherzo – in a vigorous, light, or playful manner. Busy violins construct a rapid sequence of phrases before introducing one of the most memorable melodies in the string quartet repertoire, a lilting collection of phrases that conveys great beauty. A pause initiates a change, with gentle, but assertive violin phrases in a quicker tempo before moving into a set of variations on the previously heard melody. This tempo is decelerated and the ensemble investigates a complete, harmonised version of the main melody. Nearing the end, a frantic tempo leads to a handful of cello notes to end.
The third movement opens with another stunning, almost melancholic melody – Borodin’s ability to create beautiful melodies is a great gift. A violin now investigates this melody in a higher register leading to a feeling of Romantic bliss. A second melody is now initiated, before returning to the introductory statement. Overlapping violins harmonise freely, down to the cello expressing complementary lines. This leads to a rhapsodic passage with the violins again investigating the harmonic possibilities of the theme – this is another extraordinarily beautiful soundscape. Borodin begins to dissect the theme and present it in several different ways, all of them wonderful. The end is a slow, sparse section with a series of gently fading tones.
The final movement begins with a questioning solo violin line – the cello responds. This section is repeated, but is now followed by a violin at ever-increasing tempo. Harmonised lines are added to this frantic violin part and a new, characteristic melody develops. A drop in the tempo brings a pause in the music before a solo cello phrase has the violin repeating its opening question. A tempo develops and the music hurries forward with a fine violin melody skating over the ensemble. Another pause brings about a harmonised violin and cello statement of the movement opening line. The cello now accelerates, pizzicato style and the violins return with vigorous phrases and another very lyrical melody, this time at a brisk tempo. The conclusion is a frantic violin dash to three final chords.
My review CD is by the Borodin Quartet but there are many recordings of Borodin’s two quartets on Amazon US and UK.
Several versions can be heard on Spotify, YouTube and earsense.
Listenability: A fine work featuring charming melodies in abundance.