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Kalevi Aho: String Quartets 1 - 3
Kalevi Aho: String Quartets 1 - 3 in Bloomington, MN
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The first three string quartets of
Kalevi Aho
are early works written when the composer was between 18 and 21. They show an incompletely formed style, with influences from
Shostakovich
and, in the first quartet (placed last), a straight neoclassic approach, and there is nothing very Finnish about them. Yet there is plenty to suggest the mature composer, including a mastery of counterpoint. The three works are quite different, with a three-movement arch shape in the
String Quartet No. 2
, a series of eight short movements in the
String Quartet No. 3
, and four tonal essays in the
String Quartet No. 1
. Yet they have a commonality of structure, with outer movements showing the emphasis on counterpoint that would be a hallmark of
Aho
's entire career, and framing internal ones that seems like flowers growing out of the stable contrapuntal ground. The
, with its short, contrasting, and often tonally tense inner movements, is especially striking in this regard and marked something of a breakthrough for the composer. With excellent sound from
BIS
and some lyricism from the
Stenhammar Quartet
tempering the rather severe music, this is a fine survey of some early works by an important contemporary composer. ~ James Manheim
Kalevi Aho
are early works written when the composer was between 18 and 21. They show an incompletely formed style, with influences from
Shostakovich
and, in the first quartet (placed last), a straight neoclassic approach, and there is nothing very Finnish about them. Yet there is plenty to suggest the mature composer, including a mastery of counterpoint. The three works are quite different, with a three-movement arch shape in the
String Quartet No. 2
, a series of eight short movements in the
String Quartet No. 3
, and four tonal essays in the
String Quartet No. 1
. Yet they have a commonality of structure, with outer movements showing the emphasis on counterpoint that would be a hallmark of
Aho
's entire career, and framing internal ones that seems like flowers growing out of the stable contrapuntal ground. The
, with its short, contrasting, and often tonally tense inner movements, is especially striking in this regard and marked something of a breakthrough for the composer. With excellent sound from
BIS
and some lyricism from the
Stenhammar Quartet
tempering the rather severe music, this is a fine survey of some early works by an important contemporary composer. ~ James Manheim
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