Elder statesman musician William Zinn is not quite a stranger to Nimbus. Have a look at Nick Barnard’s
review of Zinn’s arrangement for string quartet of the
24 Paganini Caprices. He has written a lot and his scores have been at the service of all the woodwinds, brass, strings, harp, guitar, harmonica and piano. Amid his idiosyncratic catalogue of 500+ works is the
Seven Seasons: seven multi-movement tone poems based on the seven most prominent Jewish holidays, a
Siegfried Rhapsody and a 24-movement harp trio. Composer-violinist Zinn has also been a member of many major orchestras.
There is not a scintilla of dissonance here. This is a contemporary composer who writes for the string quartet - and presumably for other instruments also - in a refined idiom redolent of late Beethoven or Schubert. The
Elie Wiesel portrait derives from the experience of reading the life story of Elie Wiesel, a Holocaust survivor who grew to be an important worldwide figure who in 1986 received the Nobel Peace Prize. This sumptuous and earnest music is an intensely concentrated blend of Bachian grandeur and Beethovenian gravitas. There is a light-hearted touch of kletzmer at 12.10. Very much in the grand tradition, this work ends in a stirring
maestoso.
The four movements of the String Quartet No. 1, written in the wake of the death of cellist Benjamin De Miranda, are again in consummate Beethovenian garb. The opening movement is a seraphic Arioso which recalls Finzi and Suk. The Scherzo is buzzingly active - affable and amiable in the manner of Smetana. After the streaming
legato continuum of the third movement, the finale is radiant and fugal. There’s a touch of Tippett’s
Concerto for Double String Orchestra here. The quartet ends in a quietly warbling stratospheric jostle of harmonics.
This not very long-playing disc ends with Zinn’s take on
Kol Nidrei. It is dedicated to those individuals “who have sacrificed themselves for, and continue to do so for, the cause of freedom”. As expected this is very touchingly done and with that sincere Beethovenian accent we have come to expect. This is a telling cortège, splendidly brooding, dignified and borne high in triumph.
This music is likely to make a provocative companion to the string quartets of Robert Simpson (4-6) and George Rochberg.
William Zinn has provided the straightforward and open liner notes - how could they be anything other than authoritative.
Rob Barnett
