Founded in 1946 by composer Wilhelm Schumann (1910-1992), the Juilliard Quartet is a highly respected and acclaimed ensemble. This beautiful set of CDs includes two complete cycles of Arnold Schoenberg’s string quartets. It also includes the composer’s little-known 1945 string trio and a mesmerizing string sextet version of Verklärte Nacht. This 7-CD set also captures some recording history, offering an original mono recording of his Numbered String Quartet as well as a 1978 Grammy-winning stereo recording by producer Steven Epstein of which Also included is the early unnumbered string quartet in D major).
As I was growing up, my musical horizons continued to expand with the release of the 1978 album, available here for the first time on CD. But the present set is the first time I’ve heard the 1951 numbered quartet in mono.
I would hazard a guess that most listeners, even those attracted to the modernism described in my blog review, probably only own one set of the Schoenberg String Quartets. They don’t seem to get the same love from New Music fans as other modernists like Bartók, Ravel, Debussy or even Elliott Carter. (By the way, all of these composers’ quartets were recorded by the Juilliard Quartet). But hearing two different generations of the iconic ensemble read twice in just over thirty years goes a long way to show that Arnold is at least worthy of reconsideration and perhaps promotion as a brilliant musical mind reputation. This is also a good testament to the Juilliard String Quartet’s creative interpretation skills that have endured through the ages.
For this reason alone (including those from 1951), discerning listeners will want to own this wonderful set. The piece itself is a work of homage and respect, with some lovely nostalgia inspired reproductions of the original cover art. Photographic images of vinyl records adorning several CDs help set the tone, almost screaming “collectible.”
Juilliard has helped identify and describe the entire string quartet literature, like the Guarneri Quartet, Arditi, Kronos, and more. A work performed and recorded by any one of these (to name just a few performers) virtually guarantees the accepted work a place in the canon of actively performed concert works. This is the mark of authenticity.
The quartet spans much of the composer’s career. The early Quartet in D major (1897), Quartet No. 1 (1905) and Quartet No. 2 (1908) were written before his 12-tone method was fully developed. We hear the twelve-tone method in the third and fourth quartets and trios.
The second quartet is apparently the first time a soprano has been used as support for the ensemble. Uta Graf sang on the 1951 record and Benita Valente sang on the 1975 record. The text (which is curiously not included among the otherwise delightful and clever notes) is by the poet Stefan George (1868-1933). I list them in English for the reference of interested listeners:
ecstasy
I felt the air from another planet.
The faces that once turned to me in friendship
Pale in the darkness before me.
The trees and paths I once loved are gone
So I barely recognize them, but you’re bright
The beloved shadow—the pain that calls me—
now completely extinguished in deeper flames
For after the chaotic battle,
Reappear with reverent awe.
I get lost in the tones, spiraling, weaving,
With unspeakable gratitude and unspeakable praise;
Losing my desire, I surrendered to the great breath.
A strong wind drowned me
In the ecstasy of devotion, people wept fervently
Women pray in the dust:
Then I saw a mist rising
In a sunny, open place
This only includes the farthest mountain retreats.
The land looked as white and smooth as whey.
I climbed through huge canyons.
I feel like I’m swimming above the furthest clouds
In a sea of crystal light—
I’m just a spark in the holy fire
I am but the whisper of the divine voice.
Litany
Deep sadness envelopes me,
Lord, I step into your home again.
The journey is long and my limbs are tired,
The temple was empty, filled only with pain.
My thirsty tongue longs for wine.
The fight was hard and my arms were stiff.
Resentment of peace makes my steps wobbly,
Because my hungry gums break your bread!
My breath is weak, calling for dreams,
My hands are empty and my mouth is burning.
Let me put out the fire with your coolness,
Wipe out hope and spread light!
There is still an active fire burning in my heart;
In the deepest part of my heart, a cry awakened me.
Kill the cravings and stitch up the wounds!
Take your love away from me and give me your happiness!
Schoenberg said he was inspired by these poems to compose these angular, expressionistic melodies. Poetry, like music, reflects the tone of the times.
In addition to the quartet cycle, this album cleverly incorporates the 1899 Verklärte Nacht string sextet version. Here the Juilliard Orchestra (consisting of violins Robert Mann and Joel Smirnoff, viola Samuel Rhodes, cello Joel Krosnick) gains two very valuable soloists Supported by cellist Yo-Yo Ma and violist Walter Trappler. This is followed by a powerful interpretation of the 1946 Master String Trio on the disc. I listened very casually the first time, but listened more carefully on subsequent listening sessions as the disc moved from the last track section of “Verklärte Nacht” to the first section of “Trio” and found that this clearly stated marked the composer’s seemingly natural progression from the post-Wagnerian harmonies of Wagner’s Night of Metamorphosis to those now fully developed 12-note compositional methods so perfectly integrated into the postwar string trio (here by Robert Mann, Samuel Played by Erl Rhodes and Joel Krosnick).
I used the term “postwar” in the previous paragraph as a convenient connection to the final article in this series. Robert Mann, Rafael Hillyer and Claus Adam performed on the trio recording (stereo) released in June 1965. Next is the 1942 anti-fascist Ode to Napoleon Bonaparte, set to Lord Byron’s text. Here, Juilliard is joined by pianist Glenn Gould and speaker John Horton. This is one of Schoenberg’s most politically charged works. It has much in common with A Survivor from Warsaw (1947), and Schoenberg can only be truly understood within the context of his turbulent times.
Perhaps there are parallels to our turbulent present. Perhaps Schoenberg’s audience would be better understood if they had experienced some degree of existential angst. We certainly have a lot of those. But ultimately, this set is a cause for joy and even optimism. This is a work of love, brilliantly composed, performed and recorded.
