ALOIS HABA – The Notes Between The Notes – SQs Nos. 5 & 7

Czech composer Alois Haba [1893-1973] wrote 16 string quartets. There are a few things worth mentioning about him. Firstly, he created his own system for dealing with microtones and also worked out a method of notation for his unique music. Secondly, he wrote his quartets in two time blocks. Nos. 1 to 5 were written from 1919 to 1923; Nos. 6 to 16 were written from 1950 to 1967. Quite a gap really. His first five were fairly long; from 1950 they are all short. Thirdly, being Czech it goes without saying that he was aware of the great influencer, Dvorak.

I’m going to discuss No. 5, the last one of the first block, and No. 7 which I happen to really like. It is also the first of three consecutive works that he wrote without using the microtone system.

SQ No. 5 from 1923, which is in three movements, begins in a busy manner, full of interesting melodies and harmonies. I can hear the cello accompaniment as sounding slightly dissonant due to the microtones; the violin is also dissonant. The movement is not very structured, it’s a bit of a free-for-all, with not much melodic development. The mood changes ever so slightly and the other instruments pull in behind the violin. There are some violin duet lines. The rhythm eventually stops and there is a bit of freedom for a while. Now the cello picks up the pace and carries the music in a resolute manner. The violins are spirited and they play a long unison phrase that concludes the movement.

The second, andante movement, opens with a mournful passage where you can really notice the dissonance. A solo violin meanders over the ensemble and creates a long melodic line. The viola leads before the violins take over again. The dissonance is striking even though it is technically slight. The viola and cello rumble about while the violins muse in the foreground. The violins push on; there are just the two for a moment. The cello returns and the dissonance is becoming more powerful – this is modern music. The cello comes to the front for a while and the other strings play sustained tones in the background. Now the violins reassert themselves and break into a harmonised line. The conclusion is a slow grind with the violin and cello fading out.

The final movement has a train-like rhythm. The cello is the engine and the violins, the crew. A beguiling violin melody is joined by the viola and the cello moves into a different feeling. There is a flourish, and another, before the cello ostinato returns to solidify the tempo. Now the cello leads while the others follow. There are even train-like string sound effects. A change in the rhythm brings in some sweeping melodic statements. Now we are back to the cello ostinato which continues while the violins slow down; this is a very interesting effect. The work finishes with a flourish. I didn’t notice any microtones in this final movement.

SQ No. 7 from 1951, is again in three movements. The opening is very orchestral, with a strong melody. There are Dvorak overtones at work here. The melody abandons its slightly harsh edge and becomes more folk-like. It is now a touch serious, and the violins spar for a time before introducing a new melody. Things are very busy, dramatic even. It doesn’t last. The ensemble re-enter with an opening melody which ends on a chord.

The second movement opens with a quiet, contemplative melody. A chordal section ensues and the violins rise above the ensemble creating a very fine mood. Now a second violin brings movement, gently expressing itself behind the first violin; but in a totally different way. There are two moods at once, if that makes any sense. A tempo begins to develop with a violin motif, and the second violin picks up on it. No cello or viola to be heard here. Now the whole ensemble regathers for a quiet closing chord.

The third movement is dance-like and evokes Dvorak. It is filled with a joyous energy, but measured. It’s not loud. The energy picks up and it is folk-like now. There are several attractive descending arpeggios and the violins flirt. The cello enters to strengthen the rhythm and the movement ends with a fade and a flourish. As previously noted, no dissonance here.

I have long been fascinated by Haba and his uniquity in the use of quarter-tone and sixth-tone scales. The difference between his microtonal and regular tonal pieces is significant. He tends more to the modern. I was a bit concerned about availability but a new set has now appeared so it is fair game.

Haba’s quartets are only available as complete 4-CD sets. The one I have, on the Beyer Records label, by the Stamitz Quartet may not be available for much longer. When you spend a bit of time on Amazon, you notice ominous signs. The new set is by the Haba Quartett, on Neos Music, but I haven’t heard it.

However you can, as it is on Spotify. There are also many quartets on earsense and YouTube.

Listenability: Modern music in a unique style.

print

2 thoughts on “ALOIS HABA – The Notes Between The Notes – SQs Nos. 5 & 7”

  1. Here’s another fascinating composer you’ve introduced me to! Despite the mathematical goings-on of equal temperament and microtonality (which I only vaguely understand), I find Hába’s fifth quartet truly ravishing. He’s certainly not a dry, academic composer at all.

Leave a Reply

Your email address will not be published.