Russian-born Early Modern composer Simon (Szymon) Laks [1901–1983] wrote five string quartets. Laks took on Polish nationality and was held in Auschwitz for several years, where he became leader of the camp orchestra. I discussed his String Quartet No. 3 in a review of the Voices of Defiance compilation.
The Fourth Quartet, in three, shortish movements, commences with a pizzicato, ostinato feeling. Two violins dominate and, after some initial accompanied melodic development, which is quite rhythmic, the violins continue with harmonised lines over a sparse recapitulation of the introductory motif. Then left to their own devices, the violins spin out atonal lines. The ostinato briefly returns. Now the violins reach into their high registers and construct a harmonised dialogue, leading to the end.
The next movement, marked andante, introduces a lamenting mood with a solo violin predominating. A cello line leads into a harmonised chordal passage, which is very beautiful. This feeling is maintained for some time and eventually increases in intensity as the violins give up their harmonies for strong, atonal melodic lines. This is followed by a section of eerie violin statements over another ostinato, which doesn’t last. We have a return to the harmonised chords – this is quite abstract. The intensity returns, and, nearing the end only two violins can be heard.
The final movement pulsates from the beginning and strange, rhythmic harmonised violin lines push the music. Now a solo violin steps forward, with a hurried, rhythmic melody, soon to be joined by the ensemble to create a driving passage. The violins are busy as they surge forward. There are many variations here, but all contain harmonised violin lines – the intensity is high and the conclusion sharp. This is not a long work and interestingly, it has been arranged for a string orchestra.
The Fifth Quartet consists of four movements. The opening is a solo cello line which is soon taken up by the violins – there is a strong sense of abstraction here. A pulsing cello can be heard and abstraction continues. Powerful, rhythmic chords interject sporadically as the music continues its rather formless feeling. The dynamics and intensity rise and fall, the cello scurries about the music and a solo cello moment again encourages the violins to express energised, duelling melodic lines. A short, varied section ends with a strong flourish.
The next, andante movement, starts as a quiet, random soundscape with all instruments contributing to this unusual mood. A change of texture to just two violins initiates a fierce dialogue and, with the intensity rising, the violins negotiate new harmonies with vigour. A sparser, gentle passage ensues, where the music is almost pastoral for a time. A strong flourish leads to another brief, atonal moment with faded violins.
The brief third movement begins with a frantic violin, occasionally interrupted by energised ensemble. The frantic violin returns, this time harmonised and sometimes subject to a throbbing cello. The energised violin persists, solo, and races to an end.
Strong, harmonised melodic lines introduce the final movement. This is another formless phase, before some heavy chords are heard. Now the violins begin a frantic section, culminating in a fascinating passage filled with strangely harmonised violin lines, powering the music forward. The energy here is intense with the violins unrelenting. Suddenly a peace comes over the music, and it is only a short time before a firm flourish concludes the work.
I have reviewed these three quartets from different CDs but they can all be found on String Quartets Nos.3, 4 & 5, performed by the Messages Quartet. This disc is available on Amazon US and UK.
Quartets Nos. 3 and 4 can be heard on Spotify and there are various movements on YouTube and earsense.
Listenability: Powerful, rhythmically incisive works.