Trained as a pianist, Ohana did not write much for strings (excepting his
music for the guitar). The notable exceptions are his two cello
concertos (Anneau
du Tamarit and Concerto “in dark and blue”) and his
three string quartets, the latter important milestones in his
output. He wrote his first string quartet late in his composing
life, when he was fifty, and with already several major achievements
to his credit. Though few in number, Ohana’s string quartets may
be put alongside those of Bartók and Carter whose novel approach
to the medium proved fruitful for many present-day composers.
They also perfectly illustrate the highly personal, uncompromising
nature of his music composed in complete independence, regardless
of any current musical trend or fashion. Ohana always succeeded
in remaining his own man, which is – to my mind – one of his most
endearing qualities.
String Quartet No.1,
originally titled Cinq Séquences
pour quatuor à cordes, was composed in 1963 and first performed
by the Quatuor Parrenin who were responsible for many first performances
of modern pieces during the 1960s. Later, though, the composer
dropped the central movement Tympanum, dear to his heart, but apparently
too difficult to bring out successfully in performance. So, the
First String Quartet is in four movements (Polyphonie,
Monodie, Déchant and Hymne)
the titles of which speak for themselves. Things, however, must
never be taken for granted, for Ohana’s independence will always
deliver surprises. So, if Polyphonie is exactly that, the second
movement Monodie, a
sort of impassioned Scherzo mostly consisting of accompanied recitatives,
has rough edges sometimes at odds with its title. Déchant
rather functions as a mysterious, nocturnal slow movement. The
concluding Hymne moves fiercely, mostly in homophony
and provides an assertive conclusion, although its coda is rather
more understated.
String Quartet No.2,
dedicated to fellow composer and former pupil Edith Canat de Chizy,
is also in four movements: Sagittaire
(rather song-like, but capricious and with many fierce accents),
Mood (mysterious, more static in character, harmonically unstable
with many glissandi,
and moving in half-light), Alborada
(continues almost in the same vein, but suggesting some repressed
energy) imperceptibly leading into the concluding Faran-Ngô
(a typical Ohana title, this) that after a slow introduction
becomes more animated. The Second String Quartet ends with a brilliant
flourish abruptly cut short.
String Quartet No.3
(subtitled Sorgin-Ngô)
is a substantial single movement playing for 24 minutes. This
is from Ohana’s full maturity when he was composing in complete
freedom, as inventive and imaginative as ever, with some considerable
fancy and aural sensuality. The music moves in waves towards exalted,
impassioned climaxes thus putting the slower sections into sharp
relief. The overall impression is that of music flowing almost
effortlessly throughout. This is probably the most readily accessible
of these three major scores.
These demanding, but ultimately quite rewarding pieces are superlatively
played by the young women of the Psophos Quartet. The recording
may be a bit too close for some tastes, but is on the whole perfectly
suited to Ohana’s vital music. Excellent notes by Stéphane Goldet,
though I wish that she had told us more about the music. This
important release should not be missed by any Ohana fan. Strong
stuff, but well worth the effort.
Hubert Culot
Note : To anyone interested in Ohana’s life and work, I suggest the well-presented
site www.mauriceohana.com
that offers some interesting information and articles as well
as a complete list of works and a fairly complete discography.
