Margaret Sutherland: String Quartet No. 1 (1939?) - I. Allegro Risoluto

Abstract

"In its broad outlines, Sutherland's first tring quartet adheres closely to the classical model in spirit and structure. Like so many of her European contemporaries, Sutherland saw the well established formula as a convenient and appropriate vehicle for' absolute' music, recognising perhaps that a new-tonal idiom cast in old - forms is likely to be more readily comprehensible: certainly Debussy, Ravel and Bartok had already demonstrated the flexibility of the genre. A striking feature of this quartet, given its context, is its tonal idiom. The work was composed in Australia at a time when Australian musicians had scant acquaintance with avant-garde developments in Europe. Sutherland's extreme chromaticism and the idiom are handled with confidence and precision throughout: a remarkable feat, when the composer's limited access to scores and performances of the new music is considered. The first movement adopts the sonata structure of the classical quartet, even to the point of tonal adjustment in the recapitulation to enable satisfactory resolution of tension. The thematic material is motivic rather than melodic in nature. The three primary motives, (a), (b) and (c) all have associated countersubjects and variants. many of which are interrelated (see Figure 22). Motive (a) serves as an introduction, a call to order; its characteristic rhythm appears throughout the movement and indeed throughout the work. Its countersubject, (a)1, characterised by a descending semitone figure, will be enlarged upon in the countersubject to motive (c); (a), (b), (b)1 and (c) are clearly related in their use of an ascending major or minor third. Sutherland's use of variant motives ((b)2 and (c)3) and her fragmentation of material occasionally make it difficult for the listener to discern the identity of motives: the distinguishing feature is often the characteristic rhythm of each, for example the dotted rhythm of (a), the triplets of (b)1, the semiquavers of (c)2 and the ornamental semiquaver triplets of (c)3. Apparent from the outset is the closely woven texture, achieved by imitation and other contrapuntal techniques. In bars 1-3 we see motive (a) stated consecutively by three instruments, its countersubject (a)1 stated in part by violin 2 in bar 1, in full in bars 2-3 by violin 1 and in a variant, augmented form by the cello. This type of texture is continued throughout, resulting in a high degree of cohesion and musical logic. Motives (a) and (b) might be considered first subject material; following a brief transition of (a) and (b) combined, the second subject group, motive (c) and its variants, follows. The end of the exposition is marked by a descending fourth in the viola at bars 55-6, a figure whose significance becomes apparent later on. The development section involves the fragmentation and simultaneous statement of motivic material, beginning with (c).At bar 94 the descending fourth figure is restated, this time more clearly, in the cello part, signalling the approaching end of development and the return of original material. This figure, derived originally from motive (a), is emphasised throughout the development section. Its derivation is clarified in bar 79 by the cello, and the following melodic development by violin 1 resembles (b)2, but is based almost exclusively on the interval of a fourth. At bar 112, (a) and (a)1 return, both transposed up a perfect fourth; (b) and (b)1 follow, transposed up a perfect fourth and fifth respectively, creating a less dissonant effect than the original statement (see Figure 23). There follows an abbreviated statement of (c) transposed up a perfect fifth, an adjustment to the lower parts again giving a sense of relative consonance. The movement ends with the strongly rhythmical (c)3 and a reiterated C major triad. The second movement provides respite from the complex motivic workings of the first. There are only two significant themes, the second of which is simply a series of falling fifths (see Figure 24). This movement is dominated by falling motives, in contrast with the upward slant of much first movement material; the themes are less chromatic, textures are less dense and the tempo (adagio) more leisurely. The triplet and dotted rhythms, and a possible thematic relationship between the second theme and motive (c) of the first movement, provide continuity. As might be expected, the structure is ternary, the middle section beginning at bar 57 with a cello solo ( compare the cello recitative at the end of the development of the first movement) and ending at bar 108 with a stretto pedal point and a general pause. The third movement is a scherzo, reminiscent of Beethoven in its witty rhythmic ambiguity and folklike character. Its structure is best described as a rondo, with hints of a trio section around bar 244. Although the finale is freer in form than the first 'movement,' elerrierits of sonata structure are discernible, particularly the apparent development of material that begins at bar 104 and the etum of original material at bar 182. This is the most 'modem' of the movements, with more use of imitation, and elements of Bartok's style occasionally audible in the ostina,to passages, the modal thematic structure and ornamentation. The modal and antiphonal nature of the first subject is perhaps the clearest indication of this influence (see Figure 25). To audiences acquainted with little, if any, music of this century, Sutherland's quartet must have appeared shocking. At a time when many of her younger contemporaries were perpetuating t.lie post-rom~ntic idiom, Sutherland was developing a style which, while revealing affinities with the music of Debussy, Ravel and Bartok, is wholly her own. Contemporary composition in Australia owes much to this composer, who was among the first to come to terms with the musical language of the twentieth century." -- Deborah Crisp Show more