American composer Easley Blackwood [born 1933] composed four string quartets. These are quite Modern and as such, will not appeal to all tastes. However, there are some Modern quartet listeners out there. You know who you are!
The first quartet, marked largo, which usually means slow and stately, commences with a slow section that lasts all of 30 seconds. It is followed by a slightly frantic passage which then moves back into the opening largo tempo. This is atonal music which shows dissonance but I find it stimulating. The piece moves into a slow, quiet atonal passage for a time before the chaos returns. This winds down beautifully leaving a solo cello passage to complete the movement. The second movement is taken up with a quiet, simple abstract melody which concludes on a cello melody with pizzicato from the other instruments; very introspective music. The third movement has a strong rhythmic pulse together with a disjointed melody, played in a conversational manner. This is Modern but not angry music, it’s just different!
SQ No. 2 commences with a series of abstract melodies, taken at a moderate tempo. It sets up a beautifully dissonant mood. The tempo picks up and the passage takes on a conversational approach with the quartet bouncing ideas off each other. The cello takes over, with some subtle accompaniment from the violins. This is a superb section. The second, short movement is a gentle footrace which develops into some spikey violin interjections. This does not distract from the abstract beauty of the music. The final movement, marked molto lento, is simply stunning. It begins slowly and quietly before moving into a darker section, which suddenly stops, leading into a lament for the two violins. There is more action, then absolute peace, as the violins whisper over the cello. A stark chord concludes the piece.
Now, on to the third quartet. The first movement opens with a pastoral feeling (you better believe it) with plenty of lilting melodies that are sustained to the end, which is very peaceful. The second movement is also completely of a pastoral nature. The third movement is the longest piece on the CD; a fine adagio, with not a note out of place. The final movement is a jaunty affair; a continuous collection of spirited melodies.
So there we have it, two Modern quartets and the third, conservative. I must admit I find the combination a little puzzling, but eminently pleasing.
The CD under consideration, Easley Blackwood, String Quartets, 1 – 3, by the Pacifica Quartet is freely available. The cover is a wonderful picture of four multi-coloured butterfly wings, which would go nicely with your CD rack!
The disc is on Spotify and there are some sound samples on Presto Classical.
Listenability: A modern composer expressing himself in different ways.
I don’t. And, doing a bit more searching I’m now of the opinion that he didn’t. It’s been a while since I’ve heard these but they are not like Haba’s more obvious techniques. There is real dissonance there.
How did you know he specifically used them in his quartets, though?
I wouldn’t have thought so but I Googled it and he does use them. I thought it was just atonality. Sounds like he was influenced by Alois Haba who is the guru of quarter-tones and sixth-tones!
Personally, I found the music to be a bit jarring. Did he use quarter tones?