Kronos Quartet - String Quartets 1,2: Already It Is ...

Quasi una Fantasia:
Gorecki's String Quartet No. 2, Op. 64 - Quasi una Fantasia - is an intense and heart stirring composition I have no doubt about rating five stars. There is, however, a preliminary consideration to be made: this piece of music, more than others, asks for cooperation, lots of it, and it will not satisfy listeners who are unwilling to award it with such cooperation. The reason for this, paradoxically, rests in the quartet's overtly simple and stubbornly repetitive inner structure, which is very likely to annoy listeners who either are untrained to minimalist music, or (even more so, perhaps, in this case) believe that simplicity of form essentially entails a lack of ideas. In other words, in order for those approaching Gorecki's Quasi una Fantasia to thoroughly enjoy it (and comprehend it), they must cooperate - that is, suspend skepticism and let the music exercise its hypnotic suggestion on them. If they do not, they'll inevitably miss its point and therefore find it exceedingly simple and consequently discharge it. But now, lets take a closer look at Gorecki's quartet from the standpoint of those who, like myself, through cooperation, allow it to function effectively... Quasi una Fantasia - in my opinion very nearly a "hallucination," rather than merely a "fantasy" - is a well spun, taut web it's hard for one to get out of, once one has fallen into it. In general, it steps forward by means of constant and cumulative repetitions, which gradually produce a snowball effect, inevitably submerging its listeners: very brief themes are reiterated and lengthened in the process, thus leading to immensely long bars, which cause one, literally, to skip a heartbeat. This development is not unaccompanied: deeply-set and never-so-stubborn ostinatos give the piece further cohesion, while swelling its unhealthy, beautifully morbid quality. Although fragments of Polish folk music shed light on the composition, its general mood, as I see it, is rather dark. The third movement, in particular, conveys a sense of gloominess which is so desperate it may be thought of as pure madness. The last movement, however, seems to state that there is hope, and that joy - often unexpectedly - emerges from and defeats anguish.

Not the Gorecki I like:
I am a big fan of Gorecki's symphonic stuff, but enjoy smaller string arrangements in general, so I thought I would give this a try. Frankly, it sounds like an amateur doodling around with an out-of-tune violin. Ok, it sounds like four of them, and their instruments are amazingly in tune with each other, although not with music as we know it. But this music is long on sawing string textures and short on meaningful music. There are some pleasant passages along the way, but none of it has the big, original feel of Gorecki's symphonic works. Instead I feel like I am getting a rehash of Shostakovich, except neither as inventive nor as rich. Perhaps for the most musically literate listeners who 'co-operate' with the music this will be a more rewarding album, but I didn't find it nearly as interesting as other Gorecki I have heard. No fault of Kronos Quartet, I am sure: their playing is superb, and this is exactly the kind of thing they are good at, so if you are going to like this composition, you will probably love this performance.

Gorecki and the Kronos Quartet at their most profound:
Though obviously not ideal, some quartet music can be played in the background where it will stay. Other compositions demands to be heard, and so we have Gorecki's first and second string quartets. I hear them as profound explorations of the human interior and external forces that consistently oppose it. This is particularly true in String Quartet 2, which begins with a pensive largo, passes through an ominous - if not terrifying - march and ends with ecstatic perseverance. The Kronos Quartet plays beautifully here, and with assurance, conviction and understanding. This is one of the most important fin de siècle quartet recordings one can purchase. One afternoon I listened to both quartets after Beethoven's String Quartet 13 and Bartok's String Quartet 3. It was a moving experience, and I can't help but think that I emerged from it a slightly better man.

Context -- A Maker or Breaker:
"Quasi una Fantasia" is based on a style of traditional Polish folk music that originated in the mountainous south of the country. The bass is played on a cello while viola and violin accompany with a strict 2/4, on-beat staccato rhythm. Meanwhile, the lead violin plays melodies that are simplistic on the first listening, but become incredibly complex in their timing when listened to with an ear for nuance. What Gorecki has done with QuF is set that style of music in a modern, somewhat atonal mode. If you are unfamiliar with the original style of playing, it might sound a little monotonous. If you're familiar with any Goralski music, you'll smile through the whole piece.

A Saturday night listen:
If Gorecki's Quartet # 3 is more solemn in emotional tone these 2 quartets together on 1 CD provide a "kick out the jams" experience for whatever night you deem to have a party atmosphere. Sound recording & reproduction are excellent.