It seems that Seppo Pohjola might become another Alba house
composer. This disc is the fourth released by Alba and entirely
devoted to his music. In the meantime the label has just released
yet another disc with his two symphonies: ABCD
339.
Pohjola's varied output includes three symphonies and four string
quartets so far. His four quartets span some fifteen years and
provide a fair idea of his progress. The First was completed
in 1991 and is regarded by the composer as his “real début
as a composer”. This compact work in three concise movements
is packed with seemingly inexhaustible invention. The music
sometimes draws on what may be referred to as ‘spectral
harmonies’ but the music is never rebarbative but rather
gripping in its rugged immediacy. It work succeeds in suggesting
much within its short time span; it is all over in a little
over five minutes. Not a note is wasted.
Composed some four years later the Second Quartet is somewhat
more developed and the idiom now allows for new elements such
as melody and a generally slightly mellower tone. The music
remains rather tense and often troubled. It opens resolutely
and the music then unfolds through a series of contrasted sections.
The material is somewhat less concentrated than for its predecessor
and tends to expand into longer periods. It ends with a question
mark left unanswered.
There could be no greater contrast between the still anguished
Second Quartet and its successor composed five years later.
By comparison one might even say that the Third Quartet is light-hearted,
even humorous at times. The opening section moves along with
jazzy accents - a sort of walking cello bass. A mysterious section
follows until the music resumes as before. These elements, albeit
in varied guise continue to alternate until the music ends unresolved
with a coda played pizzicato that has the music stealing away
calmly. Once again there is that element of humour and lightness
of touch.
The Fourth Quartet is a completely different proposition. It
is twice as long as the Second or Third Quartets. Then it falls
into two fairly substantial parts separated by a general pause.
The two parts make up a larger whole. The music is much freer
and with more emphasis on expression. It might at times bring
the music of Michael Tippett to mind. You can sample this at
the climax of the first part. The second part seems to continue
along the same lines as the preceding one. The composer, however,
succeeds in generating considerable musical variety through
the use of canonic themes which he varies with considerable
invention and imagination. The music never drags but moves on
impelled by an irrepressible inner logic.
I must agree with Jouni Kaipainen who wrote the insert notes
that Pohjola's four string quartets are a landmark in Finnish
quartet literature. Pohjola has certainly not said his last
word as far as string quartets are concerned. The four essays
in this often difficult genre amply demonstrate his ability
to investigate the medium and bring forth new ideas. I will
await Pohjola’s further additions to the genre.
This is a release that I particularly enjoyed both for the quality
of the music and the excellent and committed readings by the
still young Kamus Quartet. They patently believe in the music.
Hubert Culot
The Kamus Quartet 