Costa Rican Contemporary Modern composer Eddie Mora Bermúdez was born in 1965. Information on him is fairly sparse, but he has written at least three string quartets.
The First Quartet, titled Retrato V, is quite brief and consist of just two movements. The work opens with a solo violin, repeating a melodic phrase, soon to be joined by an ensemble background of a rather abstract nature. The violin melodic motif persists until a section of powerful glissandos ensues. Now a violin line of great beauty, with a rich tone appears. A previously heard violin section is recreated and an obtuse passage follows, before a return to the opening violin motif, which ends with a series of solo violin harmonics.
The second movement begins as a low cello drone and the violin enters with a line not dissimilar to the previous movement. A thundering violin in the low register makes occasional interjections. Now an almost Romantic feeling is heard as the instruments engage in a conversational manner. The violins are delightful and the cello is also very expressive. A slowing of the tempo leads to a further uplifting passage which gradually develops into a more modern texture with pulsating phrases that end on a flourish.
Considering the very modern music which follows on the CD, this quartet doesn’t feel of its time.
The Third quartet, titled JRM, is significantly different from the First. It is in one long movement and is filled with contrasts in emotional quality and style. The first notes heard are an almost inaudible bowing of a violin in a high register. This is overlaid with a fascinating violin part of rich tone and morose beauty. The ensemble inject sporadic statements that contrast with the sustained bowing. On occasions, a violin simply cries out against a taut background. A new section commences with some strong, abstract chordal passages and serious glissandos. A repeated violin motif gathers strength and the sustained bowing effect evokes Vivaldi’s Four Seasons, 250 years on – however this music is far removed from Vivaldi in terms of its emotional character.
Surging violins propel the music forward, sometimes with an ethnic flavour, possibly Middle-Eastern. A return to peace also evokes the ethnic feeling. This is music of great diversity, with the composer constantly changing the instrumental texture. A solo violin expresses in the highest register, only to encounter a response that is Feldman-like. As the piece progresses, there is much beauty, albeit abstract, to be heard. A funereal passage features a lamenting violin over a throbbing ensemble. String sound effects and pizzicato punctuate the throbbing texture – the shrill violin continues its contemplations and constantly moves into the high register, creating a wonderful contrast with a bass-heavy ensemble.
The throbbing becomes more insistent as the solo violin meanders through this abstract soundscape, now in a lower register. The ethnic feeling is again presented, sometimes oud-like.The ending consists of a series of shrill, solo violin lines that are positively haunting.
I must admit that, on my first listening to this music, I found it to be a bit confronting, but as I hear it again, that feeling is no longer there. String Quartet No. 2, again in one movement, is also on the CD. This piece in some ways acts as a bridge between the two discussed quartets, although it is more emotionally tied to the Third Quartet. I would personally rate this composer as very modern, but never confronting.
The review CD, Eddie Mora: String Quartets Nos. 1, 2 & 3, also contains a measured piece for symphony orchestra, Sula’, and a three-movement, Bocetos a Yolanda, performed by University Contemporary Ensemble which is wonderfully abstruse. These two works run for just over 20 minutes – the quartets take up 43 minutes.
This music is on Amazon US and UK as a download only, but it is currently available on Presto Classical and likely elsewhere.
The works on this CD can be found on Spotify, YouTube and earsense.
Listenability: Brilliant, unique and fascinating modern works.