Customer Reviews

Henryk Gorecki: String Quartet No. 3

5 star:		(2)
4 star:		(1)
3 star:		(0)
2 star:		(3)
1 star:		(1)

 

 

Like so many of Henryk Mikolaj Górecki's compositions, his String Quartet No. 3, Opus 67 is inspired or at least references poetry: in the case of this quartet (1994-1995) the poem at its base is a simple four line poem by Russian writer Khlebnikov - "When horses die, they breathe,/ When grasses die, they wither,/ When suns die, they go out,/ When people die, they sing songs." Górecki is a master of sharing the most intimate interstices of the human soul in his haunting music and his third string quartet is for this listener on of his most intimate utterings. It is performed with consummate skill and grace and understated passion by the Kronos Quartet for whom the work was written. It is long (around 50 minutes) but every moment contains substance and beauty.

Some listeners may find the degree of invention subdued and at first hearing that response is understandable. Yet listening to the work multiple times the soulful dignity as well as the inherent optimism of a musical poet sharing a life painted in terror and grounded by the folk music of his native Poland becomes increasingly apparent. There are moments that mark Górecki's sound, slow massive movement of a single repetitive chord altered only by the pulsations of viola or violin. But there are new sounds here: in the second movement marked 'Largo, Cantabile' the string quartet assumes the intonation usually associated with an old fashioned accordion, while in movements single string motifs blossom into romantic songs that are at times suggestive of love songs/folk songs and at other times of sacred hymns.

This Third Quartet, so exceptionally well played by the Kronos Quartet, is far more meditative than extroverted. Górecki speaks to the quiet places within our memories and our minds and somehow makes those private places audible with music so gentle that it defies description. Grady Harp, September 07

Before I begin this review, let me clear the air of a few things which you, the reader, ought to know about me, the reviewer:

For one, within the realm of composed music, the string quartet is among my least favorite of all forms of chamber music. I personally find the interplay between violins, violas, and cellos to be drab after the first movement. Very few composers have composed a work for string quartet which has caused me to reconsider: Alvin Lucier is one, as well as Stockhausen. Not even Mozart or Shostakovich has captivated me in regards to the quartet.

Second, I don't especially like a majority of the music which the Kronos Quartet chooses to play, even though I find it more listenable than the pseudo-sophisticated avant-garde which the Arditti Quartet chooses to play. I often find that the Kronos Quartet and Arditti Quartets both fall rather flat when it comes to innovation, though I would always vote in favor of the Arditti Quartet when it comes to talent and technicality.

Having stated my disapprobations, then I am prepared to say that I found this piece, by Gorecki, of whom I'm an admirer, to be quite exceptional insofar that it's one of the few works for string quartet by the Kronos Quartet which has given me reason to reconsider my common misgivings about ALL string quartets. The dynamic interplay between violins, viola, and cello is so subtle that, during certain passages, when the texture has changed so significantly, as during the third and fourth movements, one finds it hard to believe any terrain has been covered at all. This is far from a criticism when one considers the appropriate dirge-like imagery which is evoked by the haunting voices calling from the grave.

"Death" and "mortality" are the underlying themes of this work, through and through. Even the subtitle, "...songs are sung", comes from the four-line poem by Russian writer Velimir Khlebnikov, "When people die, they sing songs." not only that, but Gorecki even marks the fourth movement as MORBIDO. In fact, I personally find that this music would be extremely fitting for a documentary about the concentration camps and post-WWII, early Cold War sufferings in Poland with black-and-white film footage.

And perhaps that's what Gorecki had in mind. The famous Symphony No. 3 was subtitled "Sorrowful Songs." How fitting it would be to call String Quartet No. 3 "Songs of Suffering." But it's not an atrocious suffering which Gorecki brings to the forefront. Oh, heavens no! Gorecki presents in the format of a score a sense of upset and suffering which we, the listener, are not affronted by, but one in which we are drawn into it, feel a stately compassion for each other and ourselves, and he allows the piece to finish itself in the most majestic of manners by having us realize that all which we've been listening to for the past 50 minutes is what we are, who we are, and where we are.

Truly, Gorecki and the Kronos Quartet have given me hope in the string quartet.

Once discovered/popularized this work (commissioned for Kronos) will stand beside other great works of the genre such as the Beethoven late quartet with the original finale(Grosse Fugue) and the Schubert string quintet in C major.

The technical recording/reproduction are excellent.

A good indication of your lasting appreciation might be that your first listening might leave you confused/disappointed. After the third listening I was hooked.

Gorecki, as usual, is striving for profound angst, but for the most part this Quartet just comes across as boring. The second and fifth movements are terrible. The first movement develops some tense themes that Gorecki could have explored further, but he drops them midway to revert back to his usual droning. The third and fourth movements are the only ones with character, with the latter developing a decent amount of bittersweet sadness.

Before I attended a performance of Gorecki's third quartet by Kronos, which should have provided a more acute appraisal of the work, I read a review of this CD by Joshua Kosman, the classical music critic of the SF Chronicle, who said: "I find it drab and almost unlistenable", though he assumed that others would find the quartet profound. I regret that I must agree with the critic. This piece could have easily been reduced in length by 50% and thereby be more successful. Instead, the five-movement work is a set of see-sawing of bows, 1,2,1,2,1,2,1,2 in slow dirge upon dirge, representing loss and fading memories. The composition is nearly a drone and tedium arises quickly. I supposed that it could be regarded as a meditation, but there is hardly a focus. The fourth movement has some expressive tunes that emerge from the gloom, but they disappear in the last largo. Gorecki had written this Kronos-commissioned quartet ten years before he finally released it to them. He said that he did not really know the reasons behind the delay. He should have kept the score in the drawer.

Gorecki's Quartet No. 3 performed by Kronos is not to everyone's taste even if they love classical music. It has a very special atmosphere --slow paced and repetitive, minimalist--only broken by the third movement: Allegro, sempre ben marcato. One could use it for meditation, as it is quite peaceful and monotonous with tiny changes happening in the harmony. Perhaps it would be useful for putting one to sleep. Yes, I think it could well be advertised for insomniacs and somnambulists.

I didn`t like it and returned it for a refund