The String Quartet Since Brahms Author(s): Eugene Goossens Reviewed work(s): Source: Music & Letters, Vol.

3, No. 4 (Oct., 1922), pp. 335-348 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/726074 . Accessed: 03/03/2013 19:26
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THE

STRING QUARTET SINCE

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of combinations for larger or srtaller workswritten consideration brief necessarily following in thle has attempted thewriter iinstruments, notonly the workof those composers to passin review appreciation but practice, withthe mostup-to-date whosenamesare synonymous to has attained the quartet by which to discussthemethods cursorily thetraditional from andemancipation ofexpression freedom itspresent in certainreactionary still advocated forms pedantic and somewhat yearshas been last forty the during development of field The quarters. pace with keep to difficult it found has public so vastthatthemusical newwork every and each in ofidiomas manifested therapidchanges we listento, but in any case it is assumedthatthe readeris suffiwith the classic quartets of Hadyn, Mozart, cientlyconversant of theaction at theoutset tojustify and Schubert Schumann Beethoven, thelastofthe outBrahms as representing in singling writer thepresent a convenient and as suchconstituting school, romantic greatGerman ofmodern processes. fora discussion starting point of the timethe third forthe first In theyear1876 thereappeared to of Brahms, Op. 67 in B flat. Previous quartets string magnificent minor, A and 2 minor C in and 1 Nos. us had given he in 1873, that, includedunder the same opus both characteristically respectively, anymenonly, dealswith string quartets 51. As thisreview number altofor apart strings, the two quintets thetwosextets, tionofeither musicwithpiano,wouldbe out of place,as thechamber from gether as works ofthelatter merits oftherelative wouldalso anydescription it to say thatthe threequartets withthe quartets. Suffice compared in the touches and Schubertian in spiteofBeethovenish in question, Brahms oftherichand romantic representative first two,are as fully his pen. musicfrom or laterpieceofchamber previous idiomas aniy to realisethatthe forthemusician of muchinterest It is a matter during andlaststring quartet histhird totheworld had given composer (upon symphony of his first the production the year whichmarked tenyearspreofnearly fora period on and off he was engaged which housein the be calledthehalf-way really might viously). Thisperiod thatin the magnificent and it is significant development, composer's and forclarinet quintets,Op. 88 and 111, likewisein thequintet

from and excluding form, quartet to the string IN confining attention

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in B, Op. 115, Brahms' idiomis at its ripeststage. Why, then, strings was it that Brahms desertedthe formof the stringquartetat so early a stage in his career forthe richerand more mature quintets? Is it had been given to us in Op. 67, possiblethat his last wordin that form an inadequate means of expresbecause he foundthe fourinstruments of a secondviola appealed moreby reason sion,or is it thatthe additionof the resultinggain in richnessof tone? Yet on closer consideration to him the that the quintetrepresented it is only natural to conielude powers,just as the possibilities bettermediumforhis ever-developing his fourlast chamberworks of the clarinetin chambermusicinfluenced -the Trio for Piano, Violin and Clarinet, Op. 114, the Quintet for Clarinet and Strings, Op. 115, and the two Sonatas for Piano and Clarinet,Op. 120. Yet forthe culturedthe three quartetsof Brahms stand as the most enduringworksin that formof theirtime, and as the logical developmentof Beethoven, Schumann and representing starting Schubert, they serve for our purpose as a veryconvenient tenand general constructive pointforany enquiryinto the influences for stringquartetby composersof the dencies of those workswritten centuriesup to the presentday. and early twentieth late nineteenth the chambermusic It is a strangecoincidencethat, in considering we discover Tchaikovsky, of one of Brahms' greatestcontemporaries, that the year 1876 is also to be foundon the title page of the third markedOp. 11, 22 and last stringquartet. The threeare respectively and 30, the F major (No. 2) probablybeing the best known. Apart fromthe piano trioand the stringsextet,theycompriseTchaikovsky's entireoutputin the realmsofchambermusic,and bear not theslightest to the Brahms' idiom,as may well be imaginedin the case resemblance of two men whose sympathiesran in such oppositechannels. Yet, though of late there is a growing tendency to belittle much of Tchaikovsky'smusic, it still remains a fact that these three quartets great in conceptionand fautless in technique. But are indisputably it is only on turningto the workof his successorsthat we realise why it is that the Russians to-daycan show a collectionof workwhich for quantityoutweighs,and forquality at least equals, that of any other group. Among them the names of Arensky, Rimskv-Korsakov, and the Glazounov,Borodine,Taneiev, Liadov, Gliere, Gretchaninov, otherremainingmembersof that littlegroup of enthusiastsknownas occurto the reader. Take the case of " Les Vendredis" immediately Glazounov,withthe quartets(fivein number),the Suite, the Novelettes to the numerousothercontributions and the twopieces, not to mention quartet formwrittenin collaborationwith his fellow-composers.All and technically these are not onlyworksof genius,but are emotionally devicesof the ultra-modernist thatnot all the complicated so satisfying

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the qualities. Consider romantic of their can everdimthesplendour in thesensewe understand notmodern twochefsd'aeuvreofBorodine, by anycomposer unsurpassed beauty butofa transparent modernism, or since. before theRussianis also evidenced for quartet ofthestring The attraction whilstGliere six quartets, in the case of Tanelev,who contributed Gretchaninov Napravnik, likewise three, two,Sokolov wrote Arensky, and others. with the Russian, the French school, in the Contemporarily Ravel and of Saint-Saens, Faure, D'Indy, and laterDebussy, persons sooner all contributed of the " Six " group, including certain others, which form to theparticular work oftheir examples orlatersignificant in both quartets, two is known we are discussing. Saint-Saens by, their ofeither buthardly enough representative G major,veryfacile, examination. detailed to warrant ortheir school composer On the otherhand, the Belgian,Franck,who seemsfatedto be byhis epit very considerably was to influence classedas a Frenchman, ofFrenchgeneration to theform several oftheyounger contribution in thework and his ofChausson is thisnoticeable men. Particularly in thesolitary ofSamazeuilh and to a certain extent quartets followers, it undoubtedly is in greatthough and Jongen. The Franckquartet, ofan organist. The different parts thework wasobviously conception, in its orchestral but undoubtedly are almostcontinuous, throughout of thatstriving for one of the earliest examples we perceive quality modernstring which so very much characterises ofeffect richness technique. quartet the two quartetsof Faure are, like all their In comparison, of light in terms withdeep feeling expressed author's music,replete waterthe almost to be tone-colour. compared andflexible Theymight French howthemodern toimagine and it is difficult ofTurner, colours ofFaure and example the guidance without schoolcouldhave existed andRavelareso wellknown ofDebussy theway. The quartets topoint be superfluous to comment thatit would so irresistible effect and their technical their lateron ofillustrating save forthepurpose uponthem devic. in passing, to the to Central tribute, Europe,and paying Returning onemore ofthestring sevenexamples with quartet, ofDvorak, memory than the other,we findthe new Viennesegroup-Bartok, beautiful Wellesz, Haba, Kodaly and others,and beforethat, Schonberg, in its a quartet, Strausswrote Op. 2, which Dohnanyi. In Germany, of music his other chamber to all resemblance a bears idiom striking two wrote whilst to the violin Reger sonata, the period, particularly work. and elaborate someverystriking examples (Op. 54) containing

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In Italy Pizzetti, Respighi, Casella, Tommasini,and Malipieroare of chambermusic. Previous to some of the modernrepresentatives whilst quartets, Sinigaglia,and even Verdi,had written that,Scontrino, the Scandinavians, headed by Grieg (withG minorand unfinished examples of theirschool. characteristic F major quartets),contributed ofnote residentin America Ernest Bloch is one of the fewcomposers the mostdiscussedof all witha big quartetin print,whilstStravinsky, gives us three little pieces, and a new worknot yet contemporaries, in thiscountry. performed thatwe finda remarkable It is onlywhenwe turnto our owncountry among the younger school of composers of the particularly activity, present day, in the realms of chamber music, especially in its most to finda comattractive form, the stringquartet. It wouldbe difficult years has not included poser of any reputewho duringthe last twenty at least one stringquartetamonghis opus numbers,and while we pay it is and his contemporaries, ofStanford due homageto the contributions verv how to the youngerschool that we must turn in orderto realise great a hold chambermusic has on this country. Perhaps it is that stand unrivalled. The positionof ensembleplayingin our performers ofJoachim, England is a veryhigh one, thankslargelyto the influence thatthe attention given to the subjectin our and it mustbe recognised has verymuchto do withthe admirableperchiefteachinginstitutions formances givenby the big English quartetsat the presenttime. Chief so ofthe presentgeneration whohave contributed amongthe composers largelyto the British school of chambermusic stands Frank Bridge. to the big G minorQuartet,not In all his works,fromthe Noveletten fordifferent the Quintet,the admirableSextetand otherworks counting combinations of instruments,we remarka flairfor this particular writers. His writing branchofmusicalartpossessedbyfewofhis fellow which could onlyhave the instruments a of different displays knowledge the language inl been obtainedby first-hand acquaintance,and though whichhe writesis not by any means couchedin the newestterms,yet commandof all those devices which the technicalfacilityand perfect quartet,quite apart fromgenuine ingo to the makingof an effective in this fieldwhichthe Britishpublic giveshim an importance spiration, is stillslowto realise. Otherswith almost the same commandare Bax, Holbrooke, Scott, and Ethel Smyth, whilstElgar's solitarywork in this form,though as it deserves, is yetanother exampleofthesupremacy notso wellknown in this respect. Of the has achieved school the which English of chamber music the realms excursions whose into Englishmen not all have written string quartets, but suffiare well known,

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cient work is available in print to show that we in this particularbranch of chamber music are in no wise behind the continent. In chambermusic generally,besides the comwhosework in this thereare posers mentioned above, many others musicofIreConsider theensemble sphere cannot be overestimated. a few Howells, and Bliss,to mention land,Delius,Vaughan-Williams, publishers thatso ofBritish names at random. It is muchtothecredit especially as thepublic to the public, mnuch oftheaboveis accessible chamber music written still doesnotseemtorealise thequantity ofgQod alonecan in thiscountry the past fifteen years. Propaganda during butlikenotonlyin ourowncountry, helpto disseminate theseworks and performed of English wise abroad,whereall too littleis known art other music,butin every music, notonlyin therealmofchamber " school" is fartoogreatly insisted uponin anydisform. The word ofEuropean ofwhich in our is demonstrated cussion art,theabsurdity fact thatin chamber is music, at anyrate,there owncase bythemere not, and neverhas been, any particular evidence of a school. Our is theresult music ofindividual and no other. chamber effort, a geographical survey suchas theforeinteresting But, however to thereader, offargreater is it to discuss interest running mayprove of technique, idiomand workmanthe maindifferences and examine as compared with in present theperiod, pardaypractice, shipexisting romantic closedwiththe theGerman which virtually period, ticularly thediatonic deathof Brahms. The changefrom speechofyesterday one was ofto-day which to thechromatic many gavean opening among and tradition formal academicism held no forwhom to composers be disputed, thatBeethoven forinstance, attraction.It couldhardly thischange, in his laterquartets yetat thesame timeinanticipated notso muchby expressed vesfedhis quartetswith a significance oftouch andeliminaas bya greater concentration innovation technical tion of non-essentials. Amonghis later quartets,the F major in particular thoughts maybe citedas an instance. Here thedeepest of speech which dispenseswith are expressedwith a simplicity and displays almosta (as we knowit to-day) any kindof decoration nature implied by the term for the purely four-part reverence in is an exampleof this,but to-day likewise, " quartet." Brahms, of utterance takes harmonic cases device, precedence contrapuntal many witha fresh, and the purely melodic aspectof the musicis invested iriore notnecessarily meaining. complex, though the colourpossibilities the question of harmony, Apartalso from effects latentin the rich and sonorous by such devicesas produced was resorted to onlyin cases where double-stopping (whichformerly in balance)beganto the fourpartsin themselves proved inadequate

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influence the later writers, who wanted more sound and harmony. Likewise, the individual performer'sstandard of excellence was ever progressing, particularly when it came to be realised that chamber music was as great a medium for the display of virtuosity of solo work. In fact,so greatat and otherforms as werethe concerto and forthe composerofnew sonorities the presentday is the attraction " thatin many cases the sheer beautyof pure fourtechnical" effects ofglossing is in dangerofextinction. It also has the effect partwriting and thematic relying the composer defects through overmanystructural and often meretricious brilliance,and so ingenious too muchon external and complexis some of the decorationused by many that oftenthe listenercannot discernthe wood for the trees. One thingat least is to question the legitimacyof any establisbed: it would be difficult nowadaysforstringquartetby a composer particularpassage written of the different of his instrupossibilities withan extensiveknowledge in even the the device of pizzicato, commonplace past ments,whereas and still more, harmonies,was hardly ever indulged in to any great extent. colourof the orchestral variety, The passion forcolour, particularly findit hard to resist,and, indeed, why is a thingwhichmostcomposers should they? Given thematicmaterial of interestand an intelligent ofit, any devicethatmay serveto enhance and interesting development and picturesque and ifsome qualitiescannotbe deprecated, its colourful choose to adopt means whichhave fortheirend the display composers besides writing of the extensivepossibilitiesof stringedinstruments, thentheymustnotbe blamed theoretical a workwithpurely attractions, adhered to if the primaryelement of four parts is not consistently work. their throughout whichare ofmodernstringquartetwriting Chiefamongthe features of the presenttimeare to be found used unsparingly by mostcomposers practicallyevery means for obtainingcolour known to the orchestral composer. These include not only the extensiveuse of the tremolo, but also and so forth, double-stopping, ponticello, pizzicato,harmonics, the freemelodicline over the sustained of effects, that mostorchestral of one or more varietiesof chord, as an instance of accompaniment which we may quote Example 5,* taken fromthe quartet of Ernest but secondary importance Bloch, wherethe innerpartshave a colourful as comparedwiththe melodicline ofthe principalviolin. In thisconimportanceof the first nection,too, the prominenceand comparative violin part in quartetsby the older mastershas virtuallydisappeared. Gone are the days whentheleaderofthe quartetwas supposedto possess
* The exampleswill be foundat the end of the article.

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greatergifts of virtuosity and greaterbrilliance of tonethanhis There are many instances I could quote in modern quartets confrare. where the second violinplaysa farmoredifficult role thanthatofthe hitherto favoured principal. Present-day practice assumesan equal ofwriting facility on thepart ofboth violinists, whilst theindependence haveastonished exhibited for theviolaandthe'cellowould bycomposers and possibly shocked thosewhowrote and playedmusicin the time is at any of Brahms. Nowadays part-writing of whatever description rateentirely independent, and though theleadingviolinis veryoften it does a passageof moreextreme thantheothers, allotted brilliancy in any way play a thatthe othermembers of the quartet not follow in thisconnection to notethegreat subservient part. It is interesting ofthe which havebeenmadein theindependent ofmost strides nature as compared with thatin use at theendofthelast violawriting to-day thelamehorseofthe century. Up tillthattimetheviolawas usually wereconandthetechnical difficulties ofBrahms and Beethoven party, in difficulty. thelastword theviola sidered Sincethattime, however, as a solo instrument, in this an importance has assumed particularly whichhas revealedit as capableof comparatively country, amazing oftechnique. Witness ourownTertis, and Bridge, flights Jeremy for whom thereare practically no terrors of execution. Composers have notbeenslowto realisethis,and we rarely find a quartet to-day which the feature of a viola partas interesting does notpresent throughout as anyoftheother and as complicated three. Similarly theuse ofthe violaand 'celloin thecapacity second ofaccompanists has long violin, and no individualmemberof the quartetmay since disappeared, tolordit overanyother presume individual. effects Atmospheric playa largepart in modern writing, anditis only thatno composer naturalto conclude nowadays attempts to writea in theory stringquartetbeforehaving mastered, at any rate,the ofthedifferent in fact, technique instruments; many organisations have as much achieved fame ofexecution bytheir brilliance as bytheir excelWe have onlyto glancethrough lenceofinterpretation. a fewworks at random from thelibrary ofmodern selected chamber music torealise the necessityof a combination of players beingtechnically well from difficulties ofexecution therhythmic equipped. Apart intricacies apparentin these worksmighthave appalled many playerswho, themselves twenty years ago,prided ontheexcellence oftheir ensemble. A passage such as that quotedin Example6 fromthe Max Reger is on the faceof it alarming, and is an instance quartet also of the themodern assumes on thepartofhis audience wayin which composer withand a quickear forthe mostrapidchanges a familiarity of the

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the tonalityof a workremained harmonicvariety. Whereas formerly its entire course, nowadays, establishedthroughout almost definitely of and involvedmovement rapid transposition as witheveryotherform, of hearing fromthe parts not only demand the greatestconcentration but also fromthat of rapid transitional point of view of counterpoint, of playing harmony. It can easily be imaginedthat great perfection demandedby the composer, and ensemblealone can producethe effect the lack of matterof accurateintonation, that all-important apart from a modernworkfromthe compressedsequence of whichcan transform changes to a jumble of incoherentand muddy harmonic significant fashion in a verydifferent to-dayfindutterance noise. Dynamiceffects in this form. Examples 1 and 4 fromthe fromthat of earlier writers Quartetsof Ravel and Malipieroshow two distinctaspects of this; also in the Ravel quartetshouldbe the use of the tremolo in thisconnection impetus,whilst rhythmic of a tremendous effect the noted, producing in the Malipiero,the bars quoted, besides possessing an intriguing are an exampleof the use of open stringsas a means pattern, thematic use not only to an end. Example No. 2 is an instanceof the effective harmony. and characteristic 5/4 figure of pizzicato,but of the rhythmic the use of an undulatingfigure Examples Nos. 3 and 7 demonstrate in itself,but servingas an atmospheric background not onlysignificant quoted in Example 9 for a melodicidea, just as the two illustrations fromthe writer'sPhantasy quartetgive instances of the considerable kindsof sonorities, the use of twodifferent use made in modernwriting formelodyand the use of harmonies of the tremoloas a background harmony, to suggestan atmosphereof cold aloofnessand crystallised both effects comingunderthe heading of orchestral. rightly the Borodinequartetis forsheerbeautyand The finalquotationfrom is irresistible. performed unsurpassed,and accurately ingenuity Many of the modern quartets are in effectminiature symphonic of programme poems, whilstothersare investedwith the significance in themcompletetone-pictures music, and in many cases constitute selves, quite apart fromany value theymay possess as abstractmusic. Equally so, works such as th~e quartet of Bloch, assume monuand cover the whole range of expressionism. So mental proportions a symphony thatit constitutes is it in manyrespects virtually orchestral forfourstrings. at the presentmiioment to say whether any partiIt wouldbe difficult cular nationalgroupofcomposers displaysan ascendancyoverany other as an example groupin the matterof quartetwriting. It is interesting to compare the two quartets of Milhaud and the solitaryexample of

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but menin thiscountry; with thoseofsomeofouryounger Honegger in particular and thesetwocomposers in general, if the Frenchmen display byassociation), French though a Swiss,is virtually (Honegger, better known some of the in work, a greater ease facility and a greater greater bytheir benefit in comparison on oursideofthewater examples of in terms and less markedtendencyto experiment conciseness subjectmatter. The love of selected sonorities rather thancarefully oftheItalians in thework is evidenced theLatinforsheeratmosphere though to a Respighi,Casella and Tommasini, Pizzetti,Malipiero, thanin the case of theFrenchmen. Taken as a rather less extent perforof morefrequent are wellworthy wholethe Italian examples is another obtained. Roger-Ducasse mancesthantheyhave hitherto a very much butwith similar features, presents Frenchman whose work which scheme of style and the restlessharmonic greatermaturity oftheFrenchmen. most oftheproductions characterises at an exampleof the workof Bax, we are forinstance, Looking, workso familiar whichmakethe continental struck by the features is composers, at in his fellow common with tous, but thesametime he, stamp,an -markedly definite of a more apt to choosesubjectmatter without which thestring losesmuchofits attraction. quartet essential ofall theartforms known is nodoubt butthat tous at thepresent There thought is the one which the deepest requires quartet timethestring and deficiencies will and themostcareful handling. Its shortcomings to make leap to theeye and the ear in farless timethanis required are apparent,and faultlessmaterialand construction its beauties twoofits greatessentials. This is whatmakesnotonlythe therefore butalso that writers so masterly, workof Frank Bridge and similar the from of such interest of manyof the youngAustro-Hungarians or othermuchone maydisagree, standpoint.However experimental oftheir andBartok thework Schonberg masters, particularly wise,with it termed to put mildly, couldhardly ofwhom, be uninteresting, (both are exponents of the mostinterestand who,in thewriter's opinion, it muststillbe admitted that manifestations yetknown) ingharmonic world are toa great extent on that concentrated theeyesofthemusical in anticipation of something which of the continent corner particular eventhemusic ofthat render daring utterly simple will, bycomparison, whichthe future however, Stravinsky.This is a matter, innovator, and it behovesus to encourage alone can show. In the meantime of interest not onlyin the string the revival form, quartet stimulate in order withchamber musicgenerally, associated effort butin every still further to prosecute their thatcomposers may be encouraged still and explore withthe utmost in this direction activities energy,

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stillunexploited in thecombination which we possibility every further article. in thepresent and summarily so briefly havediscussed
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