Joseph Bologne, Chevalier de Saint-Georges (1745-1799)
Six Concertante Quartets, op. 1 (1777)
Arabella String Quartet
rec. 2021, Boston, USA
NAXOS 8.574360 [52]
Joseph Bologne, Chevalier de Saint-Georges is one of the most remarkable talents of the late 18th century. He was the son of a Guadeloupe planter, George Bologne, and his African slave Nanon. Bologne adopted the name ‘de Saint-Georges’ after one of his properties, and was officially ennobled in 1757. In 1747, he was accused unjustly of murder and fled to France with Nanon and her child Joseph to prevent their being sold into slavery. After two years he was granted a royal pardon and the family returned to Guadeloupe. Then in 1753 George took his son Joseph, who was already showing signs of musical talent, to France permanently.
At the age of 13 Saint-Georges became a pupil of La Boissière, a master of arms, and excelled in all physical exercises. After music, his greatest talent was for fencing, and indeed he became one of the outstanding exponents in Europe at the time. His skin colour led to his being referred to by that unpleasant expression ‘mulatto’, and there’s no doubt that his career, though marked by musical and (to some extent) military distinction, was also blighted by prejudice.
The quartets on this disc were composed in 1777, and therefore represent very early examples of quartet composition – Haydn’s earliest quartets had only just begun to reach the wider world. The works on this CD are modest, cheerful little pieces, all consisting of just two movements. The first movements are, in all but one of the quartets, sonata-form Allegros, usually followed by something more relaxed. Though very straightforward and unassuming, Saint-Georges uses the medium confidently and resourcefully; the ‘cello parts in particular are surprisingly prominent, and the 1st violin parts, to be played by Saint-Georges himself, are technically demanding – hence the term ‘concertante’, translatable as ‘like a concerto’.
OK – let’s admit it, this music, being among the composer’s first works in this genre, are of limited musical interest, though of far greater historical importance. Easily the most engaging and enjoyable quartet is the second one (tracks 3-4), which begins with a mournful Adagio in G minor. Here you’ll find some tender musical textures that, at one point, reminded me of ‘Soave sia il vento’, the great trio from Mozart’s Cosi fan tutte. And while we’re on the subject of Mozart operas, the second movement of this same work, which reverts to the major key, consists of variations on a cheery Papageno-ish theme (and in the same key, G major, as that Bird-catcher’s first aria). These thoughts might make one wonder – did the Chevalier encounter Mozart in Paris? It seems he probably did; but since Mozart didn’t arrive there until 1778, it would be stretching a point to expect much in the way of Mozartean influence in these 1777 quartets.
The Arabella String Quartet is an American group, originally formed at Yale University in 2011. It’s interesting that the two violinists, Julie Eskar and Sarita Kwok, swap roles during the disc, Eskar playing first violin in the first three quartets, and Kwok taking over in the remaining three. I don’t know what the reason for this was, but if it’s something the players do habitually, it’s both unusual and to be greeted with enthusiasm – very few quartet leaders will willingly share their seat! They give lively, characterful performances, responding well to the shifting moods and colours of the quartets. I recommend having a look at their web-site too, arabellaquartet.com, where you can see as well as hear them play the first three of these quartets.
Gwyn Parry-Jones
