May / June 2017

Alexander Taneyev's String Quartets

The name Taneyev (spelled, at least in English, many different ways—Taneiev, Tanaiev, Taneieff, Taneyeff, Taneev etc.—due to the difficulty of transliterating the Cyrillic alphabet) is not, outside of Russia, that well-known. Those who have heard of it invariably associate it with Sergei Taneyev (1856-1915), sometimes known as the “Russian Brahms” not because of any tonal resemblance but because of the complexity and intricateness of his compositions.

Alexander Taneyev (1850-1918) was a distant cousin and not, as is sometimes claimed, the uncle of Sergei. He inherited an enthusiasm for music from his parents, but as the first son of a member of the Russian upper nobility, was dissuaded from pursuing a career as a professional musician. After studying at university, he entered the Russian civil service, eventually succeeding his father as Director of the Imperial Chancellery. However, Taneyev also pursued musical studies both in Germany and later in Petersburg, where he became a student of Rimsky Korsakov. It is easy to draw a parallel between the lives of Alexander Taneyev and Alexander Borodin, both of whom pursued non-musical professional careers. However, whereas Borodin might easily slip away from his test tubes in the laboratory to a nearby room to note down some theme which suddenly occured to him, Taneyev, as a bureaucrat, was unable to just get up and leave his desk. It was rumored, nonetheless, that he kept a score that he was working on hidden beneath official documents so that he might pen a few notes between appointments.

Judging from his output——two operas, three symphonies, several pieces for orchestra, several choral works, and a considerable amount of chamber music——his appointment schedule could not have been too heavy. Taneyev wrote 3 String Quartets. It is thought that they were composed between 1898-1900. Judging from program bills, these quartets were performed in Russia up until the First World War and then only very rarely thereafter. Outside of Russia, he has largely escaped notice (e.g. one sentence in Cobbett’s Cyclopedia and nothing Altmann’s Handbook although he does receive a somewhat complimentary paragraph in the New Grove.)

The first movement, Maestoso-Allegro to String Quartet No.1 in G Major, Op.25 begins with a short American Indian sounding introduction. This quickly gives way to a lovely Russian theme. The influence of Rimsky Korsakov—for those who are familiar with Borodin, Kopylov and some of Rimsky’s other students—is quite evident. This very well put together movement is followed up by a short, but superb scherzo marked Presto. There is no trio but the energetic main theme is puntuated by two episodes of a slower more relaxed melody. Next is a very lyrical Andante sostenuto with some interesting chromaticism. Here, the cello is entrusted with introducing the lovely main theme. The vigorous finale, Allegro risoluto, is clearly based on a Russian folk melody. For those of you who are familiar with the appealing string quartets of Alexander Kopylov, one might say that this work is in many ways similar to Kopylov’s First String Quartet, Op.15. Like that work, it would not only be appreciated by concert audiences for its lovely melodies but also by amateur players for its fine part-writing with no outstanding technical difficulties. Taneyev clearly could write for strings. Although Cobbett’s one sentence unfairly tars him with the epithet of “amateur”, he is no more an amateur than Borodin. And Borodin often required help from Rimsky-Korsakov to complete what he was working on. There is no evidence that Taneyev ever did.

String Quartet No.2 in C Major, Op.28 is in 5 movements. The opening Moderato assai does not sound like an opening movement at all but perhaps could have served as a second movement. Chromatic and gentle in feel, even in its somewhat faster middle section which features a small fugue. The second movement, Intermezzo, subtitled Valse melancolique is immediately gripping. The actual waltz does not appear until the trio section. Instead, the movement opens with a pleading somewhat hypnotic theme introduced by the violin.  What makes it work is the rhythm of the accompaniment in the other three voices. The theme is not particularly melodic, however, this changes with the development in which the cello completes the first part of the long-lined phrase, the viola the next part, and the first violin the last, while the theme climbs in pitch over two octaves are quite interesting. As mentioned, the actual waltz does not appear until the trio. And this waltz is not melancolique but rather upbeat. It is true that the main section of the intermezzo certainly is melancholy and is also in 3/4 waltz time, but it really is not a waltz you would dance to. The trio is, and is quite well done. It provides excellent contrast with what has come before. In addition to the lively theme, there is the clever use of harmonics, which recalls the First Quartet of Borodin. Next is a slight Minuet con moto, an updated, chromatic and Russified version of the Viennese classic. A Larghetto, which begins as if it had been penned by Haydn, eventually developes into something more romantic in the middle section. Without any great passion, it is nonetheless a fetching movement. The finale, Allegro con fuoco, opens with wild and extraordinarily tumultuous introduction. Without warning, it is brought to an abrupt halt. More abrupt than if one suddenly slammed on the brakes of a car while going 100 kilometers an hour. And then the viola begins a fugue. One finds this kind of thing in late Beethoven. And here and there, there are other touches which similarly recall that master. All and all this an interesting work. One can no longer immediately identify Taneyev as a Rimsky-Korsakov student or protégé and in general there is little or nothing to which one can point and say, “that is Russian.” This was the quartet which was most often performed in concert during that period when Taneyev’s quartets could be heard on the concert stages of Petersburg and Moscow. I think audiences would appreciate hearing it now and would suggest it for performance. Again, except for some tricky rhythms, there is nothing technically which should deter amateurs, to whom it can also be heartily recommended.

String Quartet No.3 in A Major, Op.30 resembles his first quartet, not only structurally—it is in the traditional four  movements—but also because the melodic material again shows the influence of Rimsky-Korsakov and Glazunov. Hence, one also finds similarities with the quartets of Kopylov, Sokolov, Borodin and the rest of the so-called Belaiev circle. The opening Allegro comodo features of gentle but lovely opening theme. There is quite a powerful conclusion, which comes as a bit of a surprise. Next is a short Scherzo, Allegro molto. It is a rapid elves dance that is a moto perpetuo. The somewhat slower trio section is dark and brooding, providing a fine contrast. This is just sort of thing at which the Korsakov's students excelled. The same is true about the reflective Larghetto which comes next. The rhythically vigorous finale, Allegro molto .

You can hear soundbites from each movement on our website and if you desire purchase the parts from Edition Silvertrust by clicking on the links above.