German Early Modern composer Theodor W Adorno [1903–1969] wrote one string quartet and a number of incidental works in the genre. There is a detailed article on Wikipedia which gives a firm impression that Adorno was a twelve-tone, serialist composer, drawing his influences from Schoenberg’s methodologies – he also studied under Alban Berg.
His String Quartet was written in 1921 and is in four movements – they are mostly quite brief. The work opens in an expansive atonal mood, with broad melodic violin brush strokes, featuring wide intervallic leaps. The sense of abstraction is perfect in this miniature setting. Sliding into a rhythmic passage, the violins are rather haunting as they eventually dissolve into nothing.
The second movement, twice as long, reveals its Early Modern conception. Slow, enticing violin melodies paint a sparse picture. A very measured dissonance prevails. Some of the writing is Ives-like as the violins construct overlapping lines, which sometimes develop harmonies. A descending solo violin phrase cuts through the mood, leading into a tempo momentarily, before the violins adopt a more rhapsodic approach. Again the end is one of petering out.
The next movement is also brief, this time at a brisk tempo. Swirling violin lines lead to a passage with strong cello to be heard. The tempo now abates and the violins are more thoughtful in their musings. The same sense of abstraction, as previously heard, dominates this movement with the violins contributing a flourish, and the cello is carried to the end.
The final movement, the longest of the work, begins with a sparse passage of extremely disjointed melodies. The mood is that of a quiet, dissonant lament which, supported by the ensemble gradually rises in intensity. This doesn’t last and a gentle period morphs into some spirited violin utterances. The cello constantly probes as the violins continue on their entropic path with vague harmonies developing, to create another moving soundscape which again just fades into nothing.
The second work under consideration is Two Pieces for String Quartet. It begins in a slightly tempestuous manner with vague, sporadic, violin and cello activity. Dissonant harmonies paint a striking landscape. The violins are very active, in an atonal manner, with a strange duet that lingers for a time. There is plenty of forward movement, but the music doesn’t appear to be in any particular tempo. Now, the tempestuous feeling returns, although you could mount an argument that all of the discussed works are in this mood, albeit sometimes quietly. This particular movement has a sense of strength, as it forges its way to an abrupt conclusion.
The second of the two pieces opens with a solo violin, soon to be joined by the ensemble – the mood is mysterious. Recurring cello statements provide a brief moment of texture before a feeling of stasis develops. The violins continue in a very controlled manner, with economical phrasing. Gradually the intensity rises, with overlapping violin and cello melodic lines. A sense of tension evolves as the violins maintain their atonal musings. Finally, a solo cello passage terminates the piece.
The review CD also contains Six Studies for String Quartet, from 1920, which are cut from the same musical cloth, musically taut and progressive.
The Adorno works are paired with two pieces by Hans Eisler, who was a contemporary of Adorno. These are String Quartet from 1938 and Prelude and Fugue on B–A–C–H for string trio. Eisler was a more populist composer, apparently much to the chagrin of Schoenberg.
The review CD, Adorno, Eisler: Works for String Quartet, performed by the Leipzig Quartet is available on Amazon US and UK.
The three Adorno pieces from this CD can be sampled on YouTube and earsense. Both sites also have the Eisler works.
Listenability: Thoughtful, mildly provocative early twentieth century music.