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SEQUENZA21/
340 W. 57th Street, 12B, New York, NY 10019

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Jerry Bowles
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Ian Moss
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(Philadelphia)
Eric C. Reda
(Chicago)
Christian Hertzog
(San Diego)
Jerry Zinser
(Los Angeles)

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Record companies, artists and publicists are invited to submit CDs to be considered for review. Send to: Jerry Bowles, Editor, Sequenza 21, 340 W. 57th Street, 12B, New York, NY 10019

Saturday, May 06, 2006
Regarding Ben Johnston

My copy of the new CD containing Ben Johnston's String Quartets 2, 3, 4, and 9 arrived today (New World 80637-2). Suffice it to say, it was well worth the wait. I had been present back in 2002 when the musicians who now comprise the Kepler String Quartet gave the premiere of Ben's 10th String Quartet; a year or so later, I heard the same musicians give an equally stunning performance of quartet #9. So I was looking forward to the prospect of them committing all ten quartets to recording.

The quartets present can be divided into two pairs. The 4th and the 9th are more immediately approachable, and probably most representative of the majority of the quartets. The second and the third are more abstract (the second particularly so), although from a harmonic standpoint, they are less complex than the later works. But all are beautiful, well-crafted works deserving wider recognition.

What is the high point of the disc, you may ask? A hard question to answer, as each piece is so distinct in its own way. Do I pick the fourth string quartet, based on the hymn-tune Amazing Grace, and possibly Ben's best-known work? Or the sly classicism of the 9th? Or the unique atmosphere of the 3rd? Or the rugged complexity of the 2nd? Each is its own high-point, distinct and difficult to compare--apples and oranges? More like an apple, a carrot, a tree, and a stone monolith.

If I could be allowed one quibble, it is the choice of pieces on this CD. Three of the four quartets presented here have been recorded on previous occasions. Now, the question of splitting the third and fourth onto two discs is ridiculous, as the composer (and this listener for that matter) consider them linked together, but it might have been a (slightly) more interesting program if the pieces had covered a wider time-frame. But this is only one small quibble.

There are plans to record the remaining 6 string quartets; it is hoped that room might also be found for Johnston's two works for voice and string quartet/ quintet, or perhaps the two Sonatas (one for 2 violins, the other for violin and cello). At the same time, the difficulty of these pieces required over three years to get these pieces learned and committed to CD. Let us pray there is a learning curve to these pieces.
posted by David Bohn 5/06/2006



 
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