My First and
Second string quartets are in a rather similar idiom, having been written
rather close together - the first in 1957, and the second in 1959. They are
largely atonal, although not violently dissonant, and reveal the influence of
Bartok, Berg, and Hindemith. At that time, I was very much taken with
intricate contrapuntal devices, e.g., the fugal expositions of the first and
second themes in the first movement of Hindemith's Quartet Op. 32 - later
combined into a double fugue; presentation of the second theme in the first
movement of Bartok's Fifth Quartet in contrary motion at the recapitulation;
or the lengthy palindrome found in the third movement of Berg's Lyric Suite.
Many similar examples could be cited from other works by these composers.
My First
Quartet was commissioned by the Fromm Foundation and premiered at the Berkshire
Music Center in 1957 by the Kroll Quartet. The piece begins with an expansive
line played by the cello alone; this leads directly to the main portion of the
first theme, which contains two quick elements that are arranged into a double
fugato. A subsidiary section now follows, featuring three different ostinatos.
The second theme begins with a dramatic viola solo, that soon becomes a duo
between the viola and cello. Toward the close of the exposition, the cello's
original line is recalled by the first violin in a high register over a nearly
static accompaniment; this is passed on to the cello, which closes the
exposition alone. There is no development; the recapitulation follows directly.
At the subsidiary section, the first ostinato is heard in contrary motion,
while the second is combined with elements of the first theme, played by the
two violins in canon. Toward the end of the movement, the cello's opening solo
is played by the first violin over an elaborate accompaniment. The movement
ends with a brief coda that recalls elements of the first theme.
The second
movement is cast into an A-B-A form. In the first statement, the first violin
plays a cantilena line, accompanied by a rhythmically irregular pizzicato in
the cello, while the second violin and viola are in a strict canon at the
perfect fourth. The central section is introduced by a three-note falling
figure (F, E-flat, C) in the cello, which is played numerous times, first by
the cello, then by the viola. At the reprise, the canonic accompaniment is
transposed into the violin parts and played pizzicato, while the cantilena line
is played by the cello. Toward the end, the falling-fourth figure recurs
briefly in the viola.
The
third movement is a rondo in which the refrain appears four times, with three
intervening couplets. The couplets are all considerably longer than the
refrains; the close of each refrain is marked by the same eight-note harmony.
The first couplet may be divided into three parts, the first made of new
material, the second an imitative variation on the first, and the third
comprising yet more new material. The second refrain is an exact repeat of the
first. The second couplet introduces more new material, along with references
to elements found in the first couplet. The third refrain is a variation on the
original, and occurs over a repeating figure in the cello, giving it something
of the character of a passacaglia. The third couplet is made entirely of
elements found in the first two, some in contrary motion, and some in
combinations. The final refrain is virtually a repeat of the first two, and is
followed by a coda that stresses more and more the final eight-note harmony.
To purchase the CD or download this performance, click here.
Cedille Records is the recording label of The Chicago Classical Recording Foundation, a publicly-supported, not-for-profit, organization devoted to promoting the finest musicians, ensembles, and composers in the Chicago area by producing and releasing their efforts on audiophile-quality recordings. The recordings and their promotion are designed to stimulate interest in these performers and composers and bring their artistry to a wider audience. Cedille Records is also dedicated to promoting interest in neglected areas of the classical repertory by presenting masterpieces that have been overlooked by other recording companies.
Classical Music | Music for Quartet
Easley Blackwood
String Quartet No. 1, Op. 4 Play
Recorded on 09/24/1998, uploaded on 03/31/2009
Musician's or Publisher's Notes
String Quartets by Easley Blackwood
notes by Easley Blackwood
My First and Second string quartets are in a rather similar idiom, having been written rather close together - the first in 1957, and the second in 1959. They are largely atonal, although not violently dissonant, and reveal the influence of Bartok, Berg, and Hindemith. At that time, I was very much taken with intricate contrapuntal devices, e.g., the fugal expositions of the first and second themes in the first movement of Hindemith's Quartet Op. 32 - later combined into a double fugue; presentation of the second theme in the first movement of Bartok's Fifth Quartet in contrary motion at the recapitulation; or the lengthy palindrome found in the third movement of Berg's Lyric Suite. Many similar examples could be cited from other works by these composers.
My First Quartet was commissioned by the Fromm Foundation and premiered at the Berkshire Music Center in 1957 by the Kroll Quartet. The piece begins with an expansive line played by the cello alone; this leads directly to the main portion of the first theme, which contains two quick elements that are arranged into a double fugato. A subsidiary section now follows, featuring three different ostinatos. The second theme begins with a dramatic viola solo, that soon becomes a duo between the viola and cello. Toward the close of the exposition, the cello's original line is recalled by the first violin in a high register over a nearly static accompaniment; this is passed on to the cello, which closes the exposition alone. There is no development; the recapitulation follows directly. At the subsidiary section, the first ostinato is heard in contrary motion, while the second is combined with elements of the first theme, played by the two violins in canon. Toward the end of the movement, the cello's opening solo is played by the first violin over an elaborate accompaniment. The movement ends with a brief coda that recalls elements of the first theme.
The second movement is cast into an A-B-A form. In the first statement, the first violin plays a cantilena line, accompanied by a rhythmically irregular pizzicato in the cello, while the second violin and viola are in a strict canon at the perfect fourth. The central section is introduced by a three-note falling figure (F, E-flat, C) in the cello, which is played numerous times, first by the cello, then by the viola. At the reprise, the canonic accompaniment is transposed into the violin parts and played pizzicato, while the cantilena line is played by the cello. Toward the end, the falling-fourth figure recurs briefly in the viola.
The third movement is a rondo in which the refrain appears four times, with three intervening couplets. The couplets are all considerably longer than the refrains; the close of each refrain is marked by the same eight-note harmony. The first couplet may be divided into three parts, the first made of new material, the second an imitative variation on the first, and the third comprising yet more new material. The second refrain is an exact repeat of the first. The second couplet introduces more new material, along with references to elements found in the first couplet. The third refrain is a variation on the original, and occurs over a repeating figure in the cello, giving it something of the character of a passacaglia. The third couplet is made entirely of elements found in the first two, some in contrary motion, and some in combinations. The final refrain is virtually a repeat of the first two, and is followed by a coda that stresses more and more the final eight-note harmony.
More music by Easley Blackwood
17-note edude, Con moto
21-note etude, Suite in four movements
Performances by same musician(s)
String Quartet No. 2, "Intimate Letters"
String Quintet in E-flat Major, Op. 97
String Quartet in E Minor, Op. 44 No. 2
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To purchase the CD or download this performance, click here.
Cedille Records is the recording label of The Chicago Classical Recording Foundation, a publicly-supported, not-for-profit, organization devoted to promoting the finest musicians, ensembles, and composers in the Chicago area by producing and releasing their efforts on audiophile-quality recordings. The recordings and their promotion are designed to stimulate interest in these performers and composers and bring their artistry to a wider audience. Cedille Records is also dedicated to promoting interest in neglected areas of the classical repertory by presenting masterpieces that have been overlooked by other recording companies.