String Quartet op. 12

Seeking to put into practice the teaching he had received from Charles-Marie Widor, Louis Vierne composed his first major score in 1894 and dedicated it to his master. It was an attempt to synthesise his technical mastery rather than innovate, which explains the work’s traditional character. Quite understandably, he subsequently downplayed its significance; however, it is not an uninteresting score, as revealed by the enthusiastic reception of its premiere on 24 February 1896 at the Société de Musique Nouvelle. The Allegro agitato is introduced by a brief Lento with chromatic harmonies. Two themes then emerge, the first restless, with a breathless accompaniment, the second more lyrical. The Intermezzo begins with a lively, sinuous motif (supported by pizzicati and repeated notes), followed by a canon between the two violins (over a pedal point on the cello); both themes reappear in new configurations. The audience at the premiere was right in demanding that this witty movement be encored. The Andante quasi adagio opens with a particularly expressive theme from the first violin. The central part of the movement, poco agitato, is more anguished. After the return of the opening theme, the conclusion builds on material from the middle section. The Allegro vivacefinale juxtaposes a rather Mendelssohnian perpetuum mobile with a calmer theme. Finally, this theme is treated in a fugue-like manner – an opportunity for Vierne to demonstrate his technical mastery. The contrapuntal writing disappears in the duly spirited conclusion.