ZEMLINSKY QUARTET

Leoš Janáček (1854–1928): Youth (transcript of a wind sextet)

Adapted by Kryštof Mařatka

Josef Suk (1874–1935): String Quartet No. 1 in B major, Op. 11

Alexander Zemlinsky (1871–1942): String Quartet No. 1 in A major, Op. 4

Janáček probably conceived his 1924 wind sextet Youth as a reminiscence on the tradition of wind harmonies which were abundant in the music of the Augustinians in Old Brno from the mid-18^th century. The instrumentation corresponds with the contents of the work which, being a kind of remembrance of youth (probably of his experiences as a ward of the Abbey of St. Thomas in Brno) is rather playful in conception, though some sadness and nostalgia are also present. On the other hand, Janáček entrusted the string quartet with the conveying of important messages, sometimes dramatic in conception, and also containing intimate confessions at times. The instrumental adaptation of Youth for string instruments by the composer Kristof Mařatka is extremely good and brings out the best in Janáček´s work. Mařatka took into account not only the overall tone of the composition, but also the nuances of Janáček´s score (the phrasing, the recital data, the dynamic difference between the individual voices, etc.). In order not to lose some of the special sounds of the original score, Mařatka made good use of the various interpretative possibilities of string instruments – pizzicato, string harmonics, etc. The adaptation thus makes a very “Janáček-like” impression, while at the same time, in the context of Janáček´s work for the given instruments, sounding unusually light. It is quite a demanding piece to play, of course. In his adaptation, Mařatka presents a cheerful and unburdened Janáček in a composition for a string quartet – in other words, something completely remarkable and new.

The String Quartet No. 1 in B major created by the young Josef Suk is a piece in which we can still observe the influence of the author´s beloved teacher Antonín Dvořák yet also perceive Suk´s unmistakable compositional hand. In 1896, when he composed the quartet, he had already had some experience with Dvořák´s excellent quartet works, and not only in theory but also in practice. In the same year he also bought a violin from Antonio Stradivari´s workshop. The fact that Dvořák was among those who liked Suk´s first quartet was confirmed by a letter to the publisher, Simrock, in which Dvořák said it was the best work by Suk he had heard so far. Quite rightfully, not only was the work released in print by Simrock, but it was also soon being played all over Europe – in Riga, Vienna, London, etc. In 1915 the composer returned to the piece and reworked the last, fourth movement.

In his time, Alexander Zemlinsky was one of the most respected musical personalities in central Europe. He was a remarkable composer whose work drew on the late romantic tradition, which he connected with some aspects of the Second Viennese School. In addition, he became famous as a conductor (in 1911-27 he was the artistic director and conductor of the New German Theatre in Prague) and a sought-after teacher (Arnold Schönberg was one of his students). Even though he composed many remarkable musical and dramatic pieces along with orchestral and chamber compositions, his work is not performed so much these days. The String Quartet No. 1 in A major, Op. 4 dates from 1896, when Zemlinsky celebrated his first great successes; his opera Once Upon a Time was successfully staged by Gustav Mahler at the Vienna Court opera. Zemlinsky´s first string quartet is considered to be one of the most important quartet compositions of that period, i.e. before the start of the Second Viennese School.

Author: Jiří Zahrádka