La Pantomime
I. Adagio - Allegro
II. Fuga. Allegro vivace
III. Fuga. Poco andante
IV. Fuga. Allegro moderato
V. Fuga. Allegro moderato
VI. Fuga. Allegro
VII. Fuga (Thème de W.A. Mozart). Allegro
VIII. Allegro assai
IX. Fuga. Allegro
X. Menuetto. Allegro non troppo
XI. Fuga (Thème de J. Haydn). Allegro molto moderato
XII. Finale (Mesure composée). Allegro un poco vivo
Incidentally, for an extensive biography of Anton Reicha then read my blog review of his String Quintet op.92/1. Anyway onto this review... Reicha wrote at least 23 string quartets over the years but the Quatuor Scientififique was certainly his most adventurous. Like Beethoven, Reicha was a pioneer who liked to push the boundaries. His quartet works didnt really sound like anyone else and he was rather obsessed with fugues. In the manuscript to this work, which is held in the Bibliotheque National in Paris, Reicha wrote "Quatuor Scientifique consistant en XII morceaux de musique pour deuz violons, alto et violoncelle." (a scientific quartet consisting of 12 movements for 2 violins, viola and violoncello). It's a work that the composer viewed almost as a scientific experiment (hence the title). It was written in 1806 and if at first the huge number of movements seem confusing then think of it as a standard four movement work prefaced by an introduction (La Pantomime) and littered with random fugues between the four movements. It's still unknown whether La Pantomime was supposed to me part of the quartet but since it carries the same catalogue number in the Bibliotheque Nationale in Paris, it's usually taken to represent an introduction that was subsequently discarded by the composer. In it the music describes certain mythological stories. Whether it was meant as an introduction or not we really don't know but this review will take it as part of the whole. Reicha wrote a longer piece by the name 'Pantomime' that was intended as the first movement of a new quartet but re-envisaged it, shortened it and rewrote parts of it to produce this new (opening?) movement that alternates between Adagio and Allegro. The work sat gathering dust in Paris until the late 20th century when it was finally published, which explains why Reicha got no credit for creating such a unique and groundbreaking work. The quartet has 12 (13 if you include La Pantomime) movements of which 8 are progressive fugues, with 3 of these coming from his 36 Fugues treatise.
La Pantomime
After a relaxed, chordally harmonic introduction, supporting the first violin, the same first violin takes the mantle and introduces a lovely theme. Eventually the music becomes more harmonically varied until an anxious sounding passage appears. The violin again takes control and introduces a second theme whilst brief pauses punctuate the music before the opening theme returns. The end eventually arrives with grave and gently.
I. Adagio – Allegro – Tempo Primo – Allegro – Tempo Primo
The beginning of this movement sounds like a continuation of the introduction soon the mood changes briefly before the adagio music returns. There's a lovely restatement of the theme in pizzicato followed by the reintroduction of that previous busy, brief section. The initial music returns again with some shifting harmonies in accompaniment and it all winds down to a subtle ending.
II. Fuga – Allegro Vivace
The first fugue of the quartet is introduced by a firm, solo cello a section. The music is happy and lively and eventually the first violin, once more, takes control and restates the fugal theme. After fine harmonic writing the movement ends abruptly.
III. Fuga – Poco andante
This rather quaint andante has a spritely melody moving against the constantly pausing backdrop. Again, Reicha uses the cello as an excellent foil for those piercing violins but the viola has a more prominent role in this one. This is probably my favourite of the fugues. I love that stately ending.
IV & V. Fuga - Allegro Moderato x2
These two ensuing movements are yet more fugues with some fine off-kilter delayed melodies in the first and music that is happy, stately, trident, confident and assured but not especially memorable. The following movement is extremely interesting as Reicha blends 3 totally different subjects into a fugue. Each is played and then he starts piecing them together. It shouldn't work but it does and it produces a quite fascinating movement.
VI. Fuga Allegro
The next fugue is very Mozartian and minuet-like and begins with some lyrical violin work and yet more fine, harmonic writing. The most interesting aspect of this movement is this ever-shifting accompaniment which stops the melodies getting bogged down and the middle section dances in a more vibrant fashion than the opening. The violin returns even more expressively after this as the ever-changing harmonies take us to a conclusion.
VII. Fuga – Thème De W.A. Mozart Allegro
The next fugue really is a homage to Mozart, actually using the theme to his Haffner symphony and has an awful lot going on. There's some lovely part-writing and Reicha uses brief pauses particularly well to create tension. This short movement is topped off by a solo violin and then extensive dialogue. The whole section is completed by the fugal theme restated on the violin and finally the cello
VIII. Allegro assai
A very pleasant theme is introduced by the celo and then carried by the first violin. There's some nice development and full, rich textures abound. Unlike those earlier fugues this seems like a major movement with great harmonic development. It stops suddenly
IX. Fuga Allegro
The next fugue follows in strong fashion with brief statements follows by some bold writing. The mood here is exploratory and there's more firm quasi-symphonic writing with the violin taking most of the limelight. The second theme is quite lovely and a real highlight, even if it is so short.
X. Menuetto. Allegro non troppo
This bold and brass, new style minuet (it would have caused quite a stir at the time) starts in dramatic fashion and is more expressive rather than dancing. Again, Reicha effectively uses pauses and breaks to dramatic effect and there's some really quirky violin lines
XI. Fuga (Thème de J. Haydn). Allegro molto moderato
As you'd expect, this homage to Haydn comes straight from a Haydn quartet (op.20/5 opening movement to be precise) but Reicha puts an interesting spin on things with some highly elastic counterpoint and the command of harmony is excellent. Is there anything that Reicha couldn't make into a fugue?
XII. Finale (Mesure composée). Allegro un poco vivo
The finale, Mésure Compose, is, once more, moderately quasi-symphonic in atmosphere and reminds me of Beethoven in places but it's biggest oddity is it's irregular meter. Let's face it 5/8 was hardly standard back then. The music is bright and airy and instruments come to the fore then disappear back to accompaniment constantly and a violin phrase is accompanied in a variety of ways. I love that throbbing cello rhythm partway through! This is a journey and one that's very pleasant. It's all rounded off with a violin flourish, increased tempo, a busy passage and a firm two chord conclusion. .
Well apologies for the long explanation but it's such a massive and complex work that I felt it needed a bit more explanation. It's a huge quartet and although it does outstay it's welcome in places, due to some of those 'filler fugues' it's still a fascinating work and well worth hearing, if you can endure is 50+ minute runtime!
Anyway, if you're still awake after reading that lot then I can tell you that there's just one single recording of this behemoth and that's courtesy of the Reicha Quartet. Even better it's a really good one. The Reicha quartet are obviously regular and spritely visitors to this music and play with great clarity and depth. The recording is especially good with tight midrange and lots of firm bass in the viola and cello. The Czech ensemble are very tight in ensemble and their control of Reicha's start/stop fugues is of particular note. If you can take the material then you'll find loads to admire in the recording and performance. This inventive disc comes with a firm recommended for me.
Footnote: I have based my listening and review around the digital download of this but I've since discovered that this is totally different from the cd version so you may find lots of differences in ordering when you come to listen to this. WHATEVER!
I. Adagio - Allegro
II. Fuga. Allegro vivace
III. Fuga. Poco andante
IV. Fuga. Allegro moderato
V. Fuga. Allegro moderato
VI. Fuga. Allegro
VII. Fuga (Thème de W.A. Mozart). Allegro
VIII. Allegro assai
IX. Fuga. Allegro
X. Menuetto. Allegro non troppo
XI. Fuga (Thème de J. Haydn). Allegro molto moderato
XII. Finale (Mesure composée). Allegro un poco vivo
Incidentally, for an extensive biography of Anton Reicha then read my blog review of his String Quintet op.92/1. Anyway onto this review... Reicha wrote at least 23 string quartets over the years but the Quatuor Scientififique was certainly his most adventurous. Like Beethoven, Reicha was a pioneer who liked to push the boundaries. His quartet works didnt really sound like anyone else and he was rather obsessed with fugues. In the manuscript to this work, which is held in the Bibliotheque National in Paris, Reicha wrote "Quatuor Scientifique consistant en XII morceaux de musique pour deuz violons, alto et violoncelle." (a scientific quartet consisting of 12 movements for 2 violins, viola and violoncello). It's a work that the composer viewed almost as a scientific experiment (hence the title). It was written in 1806 and if at first the huge number of movements seem confusing then think of it as a standard four movement work prefaced by an introduction (La Pantomime) and littered with random fugues between the four movements. It's still unknown whether La Pantomime was supposed to me part of the quartet but since it carries the same catalogue number in the Bibliotheque Nationale in Paris, it's usually taken to represent an introduction that was subsequently discarded by the composer. In it the music describes certain mythological stories. Whether it was meant as an introduction or not we really don't know but this review will take it as part of the whole. Reicha wrote a longer piece by the name 'Pantomime' that was intended as the first movement of a new quartet but re-envisaged it, shortened it and rewrote parts of it to produce this new (opening?) movement that alternates between Adagio and Allegro. The work sat gathering dust in Paris until the late 20th century when it was finally published, which explains why Reicha got no credit for creating such a unique and groundbreaking work. The quartet has 12 (13 if you include La Pantomime) movements of which 8 are progressive fugues, with 3 of these coming from his 36 Fugues treatise.
La Pantomime
After a relaxed, chordally harmonic introduction, supporting the first violin, the same first violin takes the mantle and introduces a lovely theme. Eventually the music becomes more harmonically varied until an anxious sounding passage appears. The violin again takes control and introduces a second theme whilst brief pauses punctuate the music before the opening theme returns. The end eventually arrives with grave and gently.
I. Adagio – Allegro – Tempo Primo – Allegro – Tempo Primo
The beginning of this movement sounds like a continuation of the introduction soon the mood changes briefly before the adagio music returns. There's a lovely restatement of the theme in pizzicato followed by the reintroduction of that previous busy, brief section. The initial music returns again with some shifting harmonies in accompaniment and it all winds down to a subtle ending.
II. Fuga – Allegro Vivace
The first fugue of the quartet is introduced by a firm, solo cello a section. The music is happy and lively and eventually the first violin, once more, takes control and restates the fugal theme. After fine harmonic writing the movement ends abruptly.
III. Fuga – Poco andante
This rather quaint andante has a spritely melody moving against the constantly pausing backdrop. Again, Reicha uses the cello as an excellent foil for those piercing violins but the viola has a more prominent role in this one. This is probably my favourite of the fugues. I love that stately ending.
IV & V. Fuga - Allegro Moderato x2
These two ensuing movements are yet more fugues with some fine off-kilter delayed melodies in the first and music that is happy, stately, trident, confident and assured but not especially memorable. The following movement is extremely interesting as Reicha blends 3 totally different subjects into a fugue. Each is played and then he starts piecing them together. It shouldn't work but it does and it produces a quite fascinating movement.
VI. Fuga Allegro
The next fugue is very Mozartian and minuet-like and begins with some lyrical violin work and yet more fine, harmonic writing. The most interesting aspect of this movement is this ever-shifting accompaniment which stops the melodies getting bogged down and the middle section dances in a more vibrant fashion than the opening. The violin returns even more expressively after this as the ever-changing harmonies take us to a conclusion.
VII. Fuga – Thème De W.A. Mozart Allegro
The next fugue really is a homage to Mozart, actually using the theme to his Haffner symphony and has an awful lot going on. There's some lovely part-writing and Reicha uses brief pauses particularly well to create tension. This short movement is topped off by a solo violin and then extensive dialogue. The whole section is completed by the fugal theme restated on the violin and finally the cello
VIII. Allegro assai
A very pleasant theme is introduced by the celo and then carried by the first violin. There's some nice development and full, rich textures abound. Unlike those earlier fugues this seems like a major movement with great harmonic development. It stops suddenly
IX. Fuga Allegro
The next fugue follows in strong fashion with brief statements follows by some bold writing. The mood here is exploratory and there's more firm quasi-symphonic writing with the violin taking most of the limelight. The second theme is quite lovely and a real highlight, even if it is so short.
X. Menuetto. Allegro non troppo
This bold and brass, new style minuet (it would have caused quite a stir at the time) starts in dramatic fashion and is more expressive rather than dancing. Again, Reicha effectively uses pauses and breaks to dramatic effect and there's some really quirky violin lines
XI. Fuga (Thème de J. Haydn). Allegro molto moderato
As you'd expect, this homage to Haydn comes straight from a Haydn quartet (op.20/5 opening movement to be precise) but Reicha puts an interesting spin on things with some highly elastic counterpoint and the command of harmony is excellent. Is there anything that Reicha couldn't make into a fugue?
XII. Finale (Mesure composée). Allegro un poco vivo
The finale, Mésure Compose, is, once more, moderately quasi-symphonic in atmosphere and reminds me of Beethoven in places but it's biggest oddity is it's irregular meter. Let's face it 5/8 was hardly standard back then. The music is bright and airy and instruments come to the fore then disappear back to accompaniment constantly and a violin phrase is accompanied in a variety of ways. I love that throbbing cello rhythm partway through! This is a journey and one that's very pleasant. It's all rounded off with a violin flourish, increased tempo, a busy passage and a firm two chord conclusion. .
Well apologies for the long explanation but it's such a massive and complex work that I felt it needed a bit more explanation. It's a huge quartet and although it does outstay it's welcome in places, due to some of those 'filler fugues' it's still a fascinating work and well worth hearing, if you can endure is 50+ minute runtime!
Anyway, if you're still awake after reading that lot then I can tell you that there's just one single recording of this behemoth and that's courtesy of the Reicha Quartet. Even better it's a really good one. The Reicha quartet are obviously regular and spritely visitors to this music and play with great clarity and depth. The recording is especially good with tight midrange and lots of firm bass in the viola and cello. The Czech ensemble are very tight in ensemble and their control of Reicha's start/stop fugues is of particular note. If you can take the material then you'll find loads to admire in the recording and performance. This inventive disc comes with a firm recommended for me.
Footnote: I have based my listening and review around the digital download of this but I've since discovered that this is totally different from the cd version so you may find lots of differences in ordering when you come to listen to this. WHATEVER!
