String Quartet No. 9 (Simpson)
The String Quartet No. 9 by Robert Simpson was written in response to a commission by the Delme Quartet in 1982 to mark their 20th anniversary, one which coincided with the 250th anniversary of the birth of Joseph Haydn. Simpson was among five British composers to write works to mark this dual occasion, producing a very large set of variations on a Haydn theme, a work of some fifty-seven minutes in duration. Its first performance was given in the Wigmore Hall in London on 6 October 1982. Structure The String Quartet No. 9 consists of thirty-two variations on a theme from the minuet from Joseph Haydn's Symphony No. 47 in G, followed by a large scale fugue. An aspect of this theme worth noting is that it is a palindrome – the second half of it is the first half played backwards. Each of Simpson's thirty-two variations on this theme is also palindromic. There is also an overall tonal plan – the theme is in G, and so are the first fourteen variations. Variations XV to XIX descend in pitch by tones – F, E flat, D flat, B, A – regaining the original G for variations XX to XXII. From XXIII onwards the keys rise by tones from the semitone above G – A flat, B flat, C, D, E, F sharp - until G is regaining at XXIX and for the fugue. By this means all twelve tonalities are traversed. Composition Simpson's variations I, II and III on Haydn's theme are all taken from a set in an earlier work from 1948, Variations on a Theme of Haydn, for solo piano. Variation I is at the same tempo as the theme, generally lyrical and in character with occasional chromatic swells to disturb the generally sunny atmosphere. Variation II is marked Meno mosso, poco espress. and is relaxed, the dynamic level pp throughout as the music flows lyrically through gentle counterpoint. Variation III strongly contrasts with the previous variation, each of the string instruments playing short, bouncy fragments that alternate between arco and pizzicato. Variation IV is quicker still than the previous variation, all the strings in octave unison throughout playing semiquavers, with a crescendo to the middle point of the palindrome and a decrescendo to the end. Variation V, marked Molto allegro, is more dissonant and contrapuntal, built largely on triplet motives, and the tonality is more difficult to sense. Variation VI is largely built up of contrapuntal lines divided by the interval of a fifth, giving a great impression of overall tonal progress, as does Variation VII which covers a similar procedure but has a different overall rhythmic character and lighter texture. Variation VIII is the harshest variation so far, built on dissonant clashes of the theme placed in parallel inversions. Variation IX is hardly less relieved, following a similar structure but different texture and rhythmic character (as did the pair of variations VI and VII). The texture rapidly changes for Variations X, XI, XII and XIII,