Naxos – the little label that could – continues
its successful series of the music of British composer Alan
Rawsthorne. Here was a composer who unflinchingly dove headlong
into serialism and atonality at a time when most composers
of his generation were still noodling with Romanticism, composers
such as Vaughan Williams, Delius and Bax. Not to besmirch
these composers and their extraordinary contributions to
20th century music, Alan Rawsthorne’s lodestar
has always been more Germanic and European than anything
particularly British. He is a clear student of Schoenberg,
Berg, and Bartok, particularly of the string quartets. Rawsthorne’s
music is a series of carefully stated variations devoid of
tonality worked through with logic rather than the usual
braided harmonies and melodic structures – all the normal
traits found in Romanticism.
The music gathered here isn’t strictly
serial, though it has an internal logic of its own and seems
to go out of its way to avoid anything resembling a memorable
tune; think of the tunes in the quartets of Shostakovich
and you’ll know what I mean. Still, this music is hypnotic
and deserves attention. For example, his Theme and Variations for
Two Violins, Rawsthorne’s first published work, is a two-part
invention, Bach-like in its austerity, but filled with all
kinds of energy with an occasional waltz rhythm that will
remind the listener of the same kind of dances that Shostakovich
used. The variations offer each violinist a chance to carry
the main argument, even to trade back and forth playfully. It’s
a very dynamic work, always cogent, never acerbic – though
it is resolutely atonal with rather imaginative use of double-stopping
and 6/8 triplets thrown in here and there. The work never
overstays its welcome and it never loses interest.
His String Quartet No. 1 is another theme-and-variation,
but this time is much fuller in sonic texture. What’s here
is actually a reconstruction done by the composer. The String
Quartet No. 1 had its first performance in 1939 in Vienna,
but part of the manuscript was lost when the war started. Rawsthorne
reworked the manuscript from memory, and while the rest of
the work resurfaced later on, the composer kept to the reconstructed
version. Again, this is very carefully crafted, neatly articulated
music; the composer is clearly in control of every melodic
line in each of the work’s six variations.
His String Quartet No. 2 begins with a
first movement that’s in sonata form, but is quickly abandoned
for a more rhapsodic unfolding of countervailing arguments,
with the cello having much less to say. Still doggedly atonal,
the work’s thematic elements remain clear. Finally, the
String Quartet No. 3 most definitely will remind the listener
of the latter quartets of Shostakovich and of Bartok’s last
two, though bereft of their romantic signatures. Though
it’s crisp and assertive – and equally intelligent – it still
might put off some listeners.
I’ve referenced both Shostakovich and Bartok
in this review for several reasons, not least of which is
because they have the greatest string quartets of the 20th century
and are probably the standard-bearers in that genre. These
chamber works – though only four in number – are just as
intelligent as the works of the aforementioned composers
and we owe Naxos thanks for bringing them out into the sunlight. They
might not be everyone’s cup of tea, but they were for me. The
Maggini Quartet clearly has an affinity for this music and
the recording ambience – so important to chamber music – is
quite focused, allowing for both spaciousness and warmth. Rawsthorne
fans will definitely want this disc and those of you interested
in 20th century modernism in music – as opposed
to romanticism – might want to try this as well.
Paul
Cook
Reviews
of other Naxos recordings of British Composers
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Maggini Quartet
(Laurence Jackson (violin I); David Angel (violin II); Martin
Outram (viola); Michal Kznawski (cello)) 
