Edvard Grieg - String Quartet No. 2 in F Major

 

Edvard Grieg

 

 

(1843~1907/ 노르웨이)

String Quartet No. 2 in F Major

00:00 - I. Sostenuto – Allegro vivace e grazioso
09:26 - II. Allegro scherzando*

*Third and fourth movements are incomplete -only sketches left-, but there is a complete version with all movements by Julius Röntgen, Grieg's friend. For Röntgen's version,

[Completed version by Julius Röntgen.

I - Sostenuto - Allegro vivace e gracioso: 0:00
II - Adagio: 11:49
III - Allegro scherzando - Più vivo: 19:29
IV - Finale. Allegro giocoso: 26:11

Grieg began his String Quartet No. 2 in F Major in 1891. He more or less finished two movements: a sonata and a scherzo, but left only sketches for the another two. Some fifteen years later in 1906, a year before his death, Grieg returned to the quartet with a renewed attempt to finish what he called "that accursed string quartet which constantly lies there unfinished like an old Norwegian cheese".

It seems that he was no longer inspired by the work and was unable bring the quartet any closer to completion. A few weeks after his death, his wife sent a number of Grieg's works to Julius Röntgen for his assessment of the unpublished legacy. Röntgen was a professional composer, conductor, pianist and close friend of Grieg's. He arranged to have some of Grieg's final works published posthumously and organized a commemorative concert in Copenhagen where the unfinished quartet was premiered before the public. Inspired by the quality of the music, Röntgen was convinced that Grieg would have published the quartet if only he had completed the final two movements, so he used Grieg's sketches to complete the quartet himself.

Both of Grieg's quartets share similar qualities that define a highly individual style. His handling of form feels relaxed, natural and spontaneous. Abrupt transitions, vivid contrasts and sudden recurrences fashion this exuberantly mercurial music into highly charged dramatic narratives. Especially noticeable is Grieg's use of suspenseful silence with the tendency for fragmentary gestures to evaporate into thin air. Both quartets bring new conceptions of texture and color to the string quartet, a feature that must have contributed to Debussy's admiration. on the one hand are bold, unified textures bordering on the orchestral. on the other, there are intricate chamber filigrees with each of the instruments contributing its own special sonority, figuration or contrapuntal response. Between these extremes, Grieg frequently divides the quartet into halves as pairs of instruments contend with each other in call and response imitations. Finally, both quartets feature a strong rhythmic vitality throughout, a quality that directly reflects Grieg's love of Scandinavian folk music, especially its fiddle dances. Overall, Grieg's unique string quartet conception is best described by his own words regarding the first string quartet: "It aims at breadth, vigor, flight of imagination and above all, fullness of tone for the instruments for which it is written".

The first movement, in sonata form, begins with a gentle introduction that quickly gives way to a lively and rhythmic first theme, which takes place in an optimistic environment. The second theme is more calm and melodic. The development of both themes is relatively short but fertile in ideas, alternating the drama with optimism, while each instrument provides its own nuances. An extensive recapitulation presents both topics with some changes in a more dramatic environment in general. Optimism returns shortly before the determined coda.

The second movement is the slow part; an Adagio that Grieg left incomplete. A lyrical theme emerges from the quartet, rising as it evolves. More dramatic moments come later. In the central part a new theme emerges, more alive and energetic. The cello returns to present the initial theme, accompanied by the rest of the instruments. A new repetition of the theme leads to a delicate conclusion.

The third movement is the traditional tripartite scherzo. It begins with a rhythmic and dancing theme of Norwegian air, in D minor. The extensive central trio (in D major) is animated and of Nordic spirit, after which come more dramatic sections before the brilliant repetition of the trio. The scherzo repeats itself with few variations, ending gently.

The fourth and last movement, in sonata form, was also incomplete after Grieg's death. It begins with an optimistic and vivacious theme, of great extension. The second theme is more lyrical and solemn in spirit. The development is wide, rich in modulations. A calm transition takes us to the recapitulation of both themes in a major key. A happy and fast coda ends the work.

Sources from this website: https://www.earsense.org/chamberbase/... and the naxos booklet: https://www.naxos.com/mainsite/blurbs... musical analysis made by myself]

see below the description.

After leaving Copenhagen Grieg never again had the time or the peace necessary to finish this work, the String Quartet No 2 in F major. For the rest of his life we can see that his conscience was troubled by this unfinished music—‘that accursed string quartet which constantly lies there like an old Norwegian cheese’ (letter to Brodsky, 1895).

In 1903 Grieg wrote to the Leipzig publishers Peters: ‘You probably remember me mentioning an unfinished string quartet? I had intended to finish it, but these last years have brought so much, both physically and spiritually, that I wasn’t motivated to proceed with this cheerful work—quite the opposite of opus 27. But I hope to find the long-sought tranquility and inclination this summer.’ Then in 1906, just a year before his death, he wrote to Brodsky: ‘If only I could at least finish the string quartet for you!’ In 1907, at the time of his death, there were still only two movements and some sketches for the rest. The following year Grieg’s Dutch friend, Julius Röntgen, acquired the manuscripts from Grieg’s wife, Nina, and edited the first two movements for Peters.

Röntgen also arranged a special ‘premiere’ of the String Quartet in F major in his home. In a letter to Nina Grieg, dated November 1907, he wrote: ‘You should have been with us last evening! We played the quartet. It was strange to sit there and realize that now it was being heard for the first time, and that Edvard himself never got to hear it. But now you must hear who made up the quartet. It was unusual. Harold Bauer, the great pianist, played first violin and really did a fine job. Pablo Casals played second violin and held the violin between his legs just like a cello. I played the viola, and Mrs Casals played the cello in a remarkable way. All four of us were filled with the greatest excitement—with my wife as the only audience!’