Composer: Miklós Rózsa
Works: String Quartet No. 1 Op. 22, String Quartet No. 2 Op. 38, Sonata for two Violins Op. 15a
Performers: Flesch Quartet (Philippa Ibbotson, Mark Denman, violins; Robert Gibbs, viola; David Newby, cello)
Recording: St Silas Church, Kentish Town, January 2000 (string quartets); Parish Church of the Holy Trinity, Weston, Hertfordshire, August 2000
Label: ASV DCA 1105
Miklós Rózsa, a name often synonymous with the grandiose film scores of Hollywood’s golden age, possesses a parallel legacy within the realm of concert music that is frequently overshadowed by his cinematic accomplishments. The recent release of his string quartets and the Sonata for two Violins offers an opportunity to engage with the more intimate and personal facets of his compositional voice. These works, spanning from the mid-20th century, reflect Rózsa’s Hungarian roots and his evolution as a composer, revealing a sophisticated interplay of folk elements and modernist techniques.
The Flesch Quartet’s interpretation of Rózsa’s String Quartet No. 1, composed in 1949 and revised in 1950, is marked by a keen sense of emotional depth. The quartet unfolds in four substantial movements, where the slow movement, Lento, serves as the emotional core. The performers navigate the intricate variations of the opening movement with clarity and poise, capturing the delicate balance between the lyrical and the dramatic. The Scherzo, with its ‘in modo ongarese’ marking, embodies a rhythmic vitality that pays homage to Rózsa’s heritage, while the lively Rondo that follows showcases an adroit interplay between angularity and lyricism. The Flesch Quartet deftly contrasts the angular first subject with the more lyrical second subject, culminating in an exalted coda that resonates with a sense of triumph.
Transitioning to the String Quartet No. 2, composed three decades later, the thematic complexity and structural coherence become even more pronounced. The Flesch Quartet exhibits a matured interpretative approach, allowing the intricate thematic relationships to unfold organically across the quartet’s four movements. The playful Scherzo, again marked ‘All’Ungherese,’ is infused with a buoyant energy, yet it is the final movement that showcases Rózsa’s mastery, where the performers capture the work’s overarching narrative arc with remarkable cohesion. The ensemble’s ability to navigate the intricate counterpoint and varied textures reflects a deep understanding of Rózsa’s compositional language, elevating the performance to a commendable standard.
The Sonata for two Violins, a lighter work composed in 1933 and revised in 1973, provides a delightful contrast to the quartets. The Flesch Quartet handles this piece with finesse, drawing parallels to Bartók’s Duos while infusing it with Rózsa’s distinct melodic sensibility. The interplay between the two violins is executed with precision, highlighting the playful dialogues and moments of lyrical introspection. Each phrase is articulated with care, allowing the music’s charm to shine through.
Sound quality and engineering in this recording merit particular mention. The acoustic setting of St Silas Church enhances the quartet’s rich tonal palette, providing a warm resonance that complements the ensemble’s dynamic range. The recording captures the subtleties of the performers’ interpretations, from the tender whisper of the Lento to the exuberant flourishes of the Rondo, ensuring that the listener is enveloped in the full spectrum of Rózsa’s musical expression.
The Flesch Quartet’s performances stand as a significant addition to Rózsa’s discography, offering a nuanced exploration of his chamber works that invites renewed appreciation for a composer often relegated to the status of a mere film music figure. This recording not only fills an important gap but also serves as a testament to Rózsa’s enduring legacy as a serious composer of concert music. The hope for further explorations of his chamber repertoire remains, as the richness of his creative voice deserves continued discovery and celebration.
