I recently reviewed
a CD of Robin Stevens’s music for wind ensemble. I noted there that his
compositions were a subtle and effective fusion of traditional musical language
and a more ‘modernist’ voice. It is good to have the opportunity to listen to
three important chamber works for string ensemble written over a 30-year
period. I am beholden to the liner notes for assistance in developing my thoughts.
The earliest work on this CD is
the ‘two-cello’ String Quintet written in 1980-81. This was Stevens’s first
major composition. The work was revised some 37 years later in preparation for
this recording. An almost ‘pastoral’
introduction leads into the main ‘Allegro molto moderato’ which is effectively
written in good old-fashioned sonata form. The progress of this music ranges
far and wide from the introduction.
There is excitement, but typically this is quite relaxed music that
concludes with some fetching recollections of the opening theme. The ‘scherzo’
is vibrant and jazzy in its impact, although the ‘trio’ section is more
reserved. This movement leads quietly into the ’adagio’ which cleverly juxtaposes
music that is ‘bluesy’, sometimes deeply moving and an anything-but-academic
fugue based on a motif derived from the movement’s opening idea. It is an
impressive structure. The ‘finale’ once again uses modified sonata form to present
contrasting themes that are designed to bring this remarkable and absorbing
Quintet to a conclusion.
Interestingly, the composer
writes that this early score made numerous references to early 20th
century music, but also included several ‘fingerprints that were to
characterise his mature style. It is not necessary to hunt them down.
The lengthy String Quartet No. 1
was written after Stevens recovered from a long illness. It is stylistically more
‘advanced’ than the early Quintet. The composer writes that he ‘sought’
coherence by using a limited number of musical ideas. These have been subject to
complex ‘contrapuntal development.’ The harmonic language is deliberately
acerbic, with considerable use of dissonant intervals rather than concords. The
progress of the quartet is dominated by slow and fast sections succeeding each
other. Lyrical music does abound in this work but tends to be confined to
individual instruments rather than complete segments of the work. In the rapid portions
instruments often play diverse dynamics and signatures to the remainder of the
ensemble. This leads to a sense of ‘dislocation and alienation.’ In the
Quartet’s coda, the musical texture seems to be simplified, with a welcome, if
surprising, unison section. The work ends dramatically. I enjoyed every minute
of this long, but well-structured journey. It is a work to be relished, despite
its ‘modernist’ aesthetic.
The final essay on this CD is the
String Quartet No.2 subtitled ‘Three Portraits’. The ethos of this work is effectively three ‘character’
studies followed by a short epilogue. These three traits are ‘Impulsive One’, ‘God-Seeker’
and ‘Arguer’. They are imagined as belonging to a family group.
Once again, I think that Stevens
has sought to create a work that is inspired by ‘unity in diversity.’ This
means that each movement is quite definitely individual in its aspect but is
tied together by familial bonds. These qualities are well represented in each movement.
The rapid ‘impulsive’ music balances ‘hyperactivity’ with moments of silence:
mood changes are unexpected and dramatic. Dance music and abrasive harmonic
structures are ‘capriciously’ juxtaposed. ‘God-Seeker’, on the other hand is
slower and more meditative. The music is based by a ‘chorale’ heard at the start.
This is worked out as a set of variations. The ‘Arguer’ movement is dominated by
dance music rather than naked aggression. Contrapuntal devices are used
extensively here. The ‘Epilogue’ draws all three ‘characters’ together. This
is, after all, one big, if not always ‘happy’ family. The ‘God-Seeker’ seems to
have the final word in these thoughtful bars.
Robin Stevens was born in Wales
in 1958. He studied at Dartington College, the Royal Northern College of Music
and finally at Manchester and Birmingham Universities. At the end of his
education he was appointed Musical Director and Pastoral Worker at St Paul’s
Church, York. For three years he was
Head of Music at a comprehensive school on the West Riding of Yorkshire. Sadly,
he suffered a ‘debilitating illness’ which meant that he could not work full
time for many years. Restored to health, Stevens prepared for his PhD in
Composition at Manchester University. It consisted of several large-scale
musical works composed in a ‘contemporary idiom.’
These exceptionally interesting
chamber works are creatively and satisfyingly played by the Behn Quartet (with Timothée
Botbol’s cello in the Quintet). I cannot fault the excellent, clear sound quality
of this disc. The liner notes, as suggested above, are most helpful and ought
to be read. They are written by the Stevens. The usual biographies of the
composer and performers are given. The pulsating sleeve art is entitled The
Turbulents by Iain Andrews. It provides a unique ‘take’ on much of the
music contained in this CD.
This is a splendid recording that
is enjoyable from the first note to last. The music is well-written, often
profound and always interesting. Robin Stevens's style is characterised by ‘Beethovenian
motivic development; rhapsodic, modal lyricism; bold, dramatic gestures; tangy
harmonies; intricate counterpoint; and unashamedly direct, open-hearted
expression.’ It is a fascinating and essential mix.
Track Listing:
Robin STEVENS (b.1958)
String Quintet in C minor, (1980-81, rev. 2018)
String Quartet No.1 in one movement (2008)
String Quartet No.2 ‘Three Portraits’ (2011)
Behn Quartet: Kate Oswin (violin), Alicia Berendse (violin),
Ana Teresa de Braga e Alves (viola), Ghislaine McMullin (cello), Timothée
Botbol (cello in Quintet)
Rec. St Paul’s Church, New Southgate, London, January &
July 2019
DIVINE ART dda 25203
With thanks to MusicWeb International where this review
was first published.
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