Why don't we go on to the Ravel String Quartet, and to the second movement, as we've done
the second movement of the Debussy Quartet. He worshipped Debussy, and patterned his quartet,
really, after Debussy's string quartet in many, many ways. And this second movement
has the same markings, almost literally. Fast enough, and very rhythmic.
And there are all kinds of wonderful pizzicato effects. So, maybe we can go
into them a little bit later. But another thing
that's fascinating about this movement is the
cross rhythms. And I wonder whether the three lower voices, Zoe, Karen, and Ayane,
whether you would first just demonstrate without first violin, without Miho,
one part of that cross rhythm.
[MUSIC]
Great. And now, Miho, if you'd join them, now these are things in a way going
one against another. And it's-- and the sum total is just a delightful effect. Please.
[MUSIC]
And now all four of you together.
[MUSIC]
That's just an absolutely marvelous effect. And what do you think about this
pizzicato atmosphere? What does it bring forth? And is this, again, something that's foreign
and exotic, to you? What's your take on all of this?
It's -- pizzicato is something that, I guess, as a string player, we don't necessarily
practice all the time. We're so used to practicing with our bows.
And so, one of the challenges of this piece and also the Debussy is to try and find
different colors with a pizzicato sound. And that's something that's been really interesting
to explore. And, I think, is also very reflective of all the exotic sounds that maybe
these composers heard back in -- back in the day.
That probably is drawn, as you mentioned earlier, Zoe, from the gamelan and other
instruments. And now, in a way, for them probably bowed instruments
were the exotic thing. You know? So. And now, if you would, play
the planned excerpt from the beginning of the second movement of the Ravel String
Quartet, please.
[MUSIC]
Thank you. And I have a feeling that there is
something so different about this French music. I mean, every single country has its character.
And most of it is drawn from the local environment. The local culture. But there seems
to be something different going on here. Do you have any thoughts on this?
Well, I guess one feeling that I get from playing both the Ravel and the Debussy
quartets is that the standard kind of notation for
this type of classical, Western music,
is almost just not enough. It's not enough for these composers, who are trying
to evoke sounds that are just so unusual. And so I think it's really fun for us
to play something that really challenges our imaginations. And we kind of have to take
an extra leap from what's on the page to the sounds that we're generating.
And we also have to pretend that we're not just two violins, a viola, and a cello.
That together, we are -- we are this one exotic instrument, with a very colorful sound,
and can change from one thing to another. And I think he succeeds.
Because if I close my eyes and listen to you, I can easily forget that you're a string quartet.
And in that sense, I think these two composers have succeeded marvelously,
not just in creating two incredible pieces of music,
but also in taking us into an absolutely new and wonderful world.
Thank you very much. Thank you.
Arnold SteinhardtPerformance Faculty
Dr. Mia ChungInstructor of Interpretive Analysis
