A few weeks ago, we took a look at the Cello Sonata of Ethel Smyth, an English composer of the late 19th and early 20th centuries. Today we look once again at her writing for strings, this time the String Quartet in E minor, from 1914.

The viola opens the work, introducing the first theme, with a distinct rhythm that permeates the opening section of the quartet, followed by a descending figure. The remaining players quickly join this theme, with a few variations, before leading to a short transitional section of repeated arpeggiated figures. Smyth quickly transitions to B Major, with a more lively and traditional quartet sound, quickly fading to traded repeated 16th notes that fade to pianissimo and the return of the initial rhythmic figure in B Major under a new lyrical melody in the violin.

After repeating, the true development begins, with the rhythmic figure from the opening appearing throughout, along with short arpeggiations, often sweeping between the instruments. Suddenly the violin returns to a lyric line, bringing back the closing melody of the exposition section. A short cadenza-like passage in the first violin begins the transition back to our opening material, this time returning to a calm ending, pleased pianissimo.

The scherzo-like second movement begins, once again, with the viola alone, before being joined by the other instruments. As Smyth develops the ideas, the writing becomes much more intricate, particular as the key moves to F Major and the melody is passed quickly back and forth, mid-motive, between the instruments, with a very light and delicate voicing. Running 16th notes pass between the upper strings, before the viola returns to the opening theme, this time with limited accompaniment by the first violin and cello. As she continues to develop the ideas, Smyth moves us to a short Andante section, before a short unison Presto takes us to a dramatic and sudden finish.

The third movement opens with the voices entering one at a time, building a lush opening, with a crescendo over 3 measures from the opening pianissimo to a rich mezzo-forte, before fading back to pianissimo as the first violin introduces the first melodic idea. What follows is nearly a canon with the first violin introducing a second theme, which is imitated by the viola after 3 measures, then the cello 4 measures later. The movement begins to build steam here, with more movement in the lines and more intensity. Smyth continues to develop the ideas here, until we reach rehearsal number 10, where the melodic ideas combine, with the first violin taking the canonic idea, which the second violin returns to the opening chord sequence. We eventually return to the full canon, eventually returning to a quiet close.

The finale, marked Allegro energico begins with a true fugue, with the first violin opening the movement, before being joined by the second violin, viola, then cello. The energy begins to build quickly, but is frequently interrupted, before quickly rebuilding. As the movement continues, Smyth returns to the fugal idea, beginning at rehearsal 13, this time beginning pianissimo in the first violin, which has hinted at the melody with slow turns, as a pizzicato accompaniment in the remaining strings provides additional energy. The other instruments join as before, once again we hear a descending chromatic line from the first violin that takes us out of the fugue. This time, we move to E Major shortly, though the frequent chromatics make it difficult to recognize the new key for quite some time - and as soon as we establish that Major sound, we’re back to E minor and we hear Smyth moving to close out the movement, which happens in short order, with a few false finishes to surprise us along the way.

Two professional recordings of this work are available today:
Fanny Mendelssohn Quartet (the recording in the videos above)
Mannheim String Quartet

Both a full score and parts for this work are available:
Score
Parts