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- Arne Nordheim
Strygekvartet (1956)
(String Quartet)- Edition Wilhelm Hansen Copenhagen (World)
Programme Note
The String Quartet is regarded by the composer himself as his first major work. Two important models for Nordheim are present in this work as sources of inspiration; namely, Béla Bartók and the Norwegian Fartein Valen. On another discourse level, we sense here a characteristically Mahlerian expressivity; longing and dis-ease.
Already in this early work we find several important elements in Nordheim's style. The first movement, Lento quasi una improvisazione, is notable for its easy developmental flow. Melodic lines of nearly recitative-like character are delicately spun out from small motivic cells. The procedure invites comparison with Bartokian line-play and Mahler's melodic ornamentation. We now experience Nordheim delving, however, into quite unique expressive registers. 'Soundblocks' of a fairly static character also impose themselves in the musical space, creating tension and unresolved expectations. The second movement is brooding, unsettled, and no gestures in the direction of a resolution are forthcoming. On the contrary, a general temporal paralysis imposes itself ever more strongly at times on the musical discourse. Epitaffio, the third and the final movement, is permeated in contrast by a beautiful thematic and spatial pellucidity. The violin's melodies waft limpidly above groundwaves of tone in the deeper strings. The expression seems fervent, a resigned longing. Nordheim' s String Quartet stands as an exemplar of artful temporal manipulation and how distinctly musical and semantic discourse universes (eternity, transitoriness, expectation) may be approximated.
- Morten Eide Pedersen (translated by Paul Arlidge)
Already in this early work we find several important elements in Nordheim's style. The first movement, Lento quasi una improvisazione, is notable for its easy developmental flow. Melodic lines of nearly recitative-like character are delicately spun out from small motivic cells. The procedure invites comparison with Bartokian line-play and Mahler's melodic ornamentation. We now experience Nordheim delving, however, into quite unique expressive registers. 'Soundblocks' of a fairly static character also impose themselves in the musical space, creating tension and unresolved expectations. The second movement is brooding, unsettled, and no gestures in the direction of a resolution are forthcoming. On the contrary, a general temporal paralysis imposes itself ever more strongly at times on the musical discourse. Epitaffio, the third and the final movement, is permeated in contrast by a beautiful thematic and spatial pellucidity. The violin's melodies waft limpidly above groundwaves of tone in the deeper strings. The expression seems fervent, a resigned longing. Nordheim' s String Quartet stands as an exemplar of artful temporal manipulation and how distinctly musical and semantic discourse universes (eternity, transitoriness, expectation) may be approximated.
- Morten Eide Pedersen (translated by Paul Arlidge)