I often wonder why so many popular French composers from the late 19th century and on, wrote only one string quartet? Were they taking a lead from Debussy and Ravel? Ernest Chausson [1855-1899] and Gabriel Faure [1845-1924] were both members of the FOSQC. Others include Cesar Franck, Henri Dutilleux, Albert Roussel, Jean Cras and probably more. I shall see how I go with these at some other time.
Chausson’s quartet opens at a very slow tempo. All of the instruments take a turn at the lead melody and, when the tempo gets a bit confusing, they all revert back to the slow, measured opening. Suddenly we have left melancholia behind, the tempo lifts, and the violin sweeps above the ensemble. The mood changes to a pastoral scene, with the violin very much in command. The cello takes over, leading the music into another slow passage. The tempo picks up, and the violin enters with its own story to tell. Gradually, the ensemble gathers force and the music is reminiscent of an earlier section. The players then work overtime with a hectic passage, continuing for some time. The violin soars again in a positive mood, leading to a rich tapestry which gently brings the music back to the ground. Joy abounds here, it is full of romance. The piece gathers impetus for a time and then it slowly falls apart. In the penultimate bars it blatantly quotes the opening measures of Debussy’s string quartet (reviewed May 2016) before it comes to a stop. Magical!
The second movement also begins slowly, this time with an attractive, almost romantic melody. It’s so fine, the composer repeats it and builds to a climax, before dropping back. The cello enters with an aching solo passage and is absorbed back into the ensemble. Again the intensity drops and the violin sustains the mood. It eventually lifts with all instruments working together in harmony for the greater good. Now we are moving towards the end and the cello again takes precedence. The first hint of a real tempo change comes with the strings supporting the violin as it gently comes to rest, and it is over.
The third movement is bright and breezy, the violin leading over some fine ensemble work. This playful section continues for some time before seguing into a gentle mood. This too, is a long section and I can even hear a little Dvorak in the melody. When it eventually changes, it introduces the only drama in the work. The serious tone is soon swept away by the first violin, which takes things into a minor mood, for the first time in the work. After a short static passage, the music rises again. It positively races for a time, and then returns to a melancholy mood, and takes the piece out with a Dvorakian flourish!
Faure wrote his quartet in 1924, the last year of his life. He opens his first movement in a rubato manner with the cello featured, in a minor mode, until the quartet eventually breaks into tempo with a positive passage. The music now returns to the opening, this time with a lot more support for the cello. Ascending lines give a feeling of immense exhilaration before dropping back to the opening melody. A new passage takes shape, very beautifully. Gently moving forward, it too lays out a carpet for the violins to ply their trade. Melodies abound in this measured section. The cello returns to lead the ensemble through a quiet passage to the end.
The opening of the second movement reveals a deep feeling. The tempo starts to be obvious as the ensemble supports the first violin in a charming passage. You can feel the intensity rise and fall as the violin leads the way. A positive mood emerges and the music drops back to a lamenting passage. The constant tempo gives the movement substance, leading to a very broad, expansive section. The violins express freely, moving through a slight crescendo, before dropping back into a minor key. The cello returns to lead the ensemble until the violins feel a need to take over. The mood of this movement is wonderful, so gentle and melodic. It’s music that takes you somewhere warm and comfortable.
Solo cello opens the third, and final movement, before dropping back into a supporting role. The mood is mostly positive, occasionally with a touch of angst as the minor key adds to this feeling. The cello returns again to implement a change creating an air of mild, but palpable, tension. The violin sketches out a poignant melody, very charming. The tension rises ever so slightly as Faure works this mood for several minutes. I gradually realised that this mood is the movement! As usual, the music ends with a brief flourish.
These two pieces are highlights of the Late Romantic string quartet repertoire. The French certainly have shown a gift for romance in this genre.
There are many individual recordings of the two pieces available. I could only find two pairings, which I have not heard. These are by the Ysaye Quartet and the Jupiter String Quartet, both on Amazon US. The works are also available to sample on Spotify.
These quartets are both available on YouTube; Chausson here and Faure here. There are many versions on earsense.
Listenability: Let’s just say they have a certain ‘je ne sais quoi‘.