Villa-Lobos: SQ 9, 10, and 11

If I didn't particularly like the direction the string quartets of Villa-Lobos were heading with Nos. 7 & 8, String Quartet no. 9 is the knottiest of all.

The liner notes use the term atonality, as they did with SQ8, and I disagree with their assessment. In fact, just upon listening, his music is firmly rooted in tonality, just mired within a strong, chronic case of chromaticism.

A very long 2nd movement, the longest from within all his quartets, begins with what sounds like the opening Kyrie theme from Dvorak's Requiem, the Czech composer's most modern motive. Villa-Lobos develops this into a much more modernist setting than Dvorak would imagine, and the long movement is a hard swallow.

Again, I think it is SQ9's outright seriousness which puts me off of some of this music. Even the third mvt. Scherzo, a movement where Villa-Lobos usually contrasts two musical ideas, finds little joy or humor here. Indeed, the middle portion contains a nasty little fugato of sorts, which launches into further acidic settings, continued in the final movement.

I have since lightened up on SQ8 comparatively, but I don't think that will be the case with this one. I doubt I will return often.

Ah... String Quartet no. 10. This is the direction I am glad to see Villa-Lobos go! The thick, dense textures of his middle quartets is finally thinning out, focusing the composer on the importance on his unique takes in melody and rhythm without sacrificing his individuality.

Having now listened to ten quartets from the Brazilian master, I recognize his patterns of an upward-moving motive, usually leaping chromatically, as well as outward motion from the four instruments. I am not smitten with this opening movement, but its qualities rise to the fore more immediately than what has come before recently.

I do enjoy the throbbing opening of the 2nd mvt., even more effective upon its return after extensive sentimental noodling. The two final movements are more my speed, with the third's galloping figures and quixotic developments, plus one of the more satisfying melodies Villa-Lobos has given us within a final movement in some time.

This is still a transitional work though, so its mysteries still remain boxed up for me in many ways. Villa-Lobos always has his movements end on a satisfying note, and it is a curiosity how he arrives there from the chromatic toil which proceeds. SQ10 is not a favorite, but I like its trending qualities.

Well if SQ10 was a move in the right direction for this listener, I am totally on board with String Quartet no. 11. Just looking at the music shows what lengths Villa-Lobos has taken to thin out his string textures, and most effectively so; the print is clear and light. The composer marries his new interest in Neo-Classicism with his innate sense of Brazilian traditions; a sort of homecoming, yet in a slightly new form.

Villa-Lobos had abandoned key signatures long ago, akin to the piano concertos, but it is here where the key of C Major seems a cohesive goal of the work, and it is amazing to me how he develops so much different music from these simple means.

His intentions with melody and rhythms are so much clearer here; it is like a breath of fresh air. So too, his positivity and humor shine through once more. One can only hope this is a springboard for the future, even if Neo-Classicism isn't a favorite musical movement of mine.

SQ11 has an opening movement which I rather enjoyed, the first of such from Villa-Lobos in a long time. The sequencing is an unexpected joy, but also the springy rhythms which propel the music and the repetition of musical ideas providing some structural security for the listener.

The 2nd mvt. drones are an especial delight, bringing to mind more of Scotland than Brazil, accompanied by a rather folksy tune, plus the cutest of all concluding musical buttons!

A beautifully yearning third mvt. is enclosed between less serious affairs, of which, the finale gleefully wends its way to a conclusion.

I would certainly be happy with more music such as this from Villa-Lobos. My experience has been hit and miss with the composer overall, more from wanting something different from him in genres where he has endless works. Maybe this isn't the most satiating of quartets, but it is a solid move in the right direction for this listener.

 

 

Works
String Quartet 9 (28.14)
String Quartet 10 (24.55)
String Quartet 11 (27.52)

Performers
Cuarteto Latinoamericano
    Saúl Bitrán, violin
    Arón Bitrán, violin
    Javier Montiel, viola
    Alvaro Bitrán, cello

Label: Dorian
Year: 1995-2000; 2009

 

 

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