Jurgis Karnavičius (1884-1941) was born in the Lithuanian city of Kaunas, which at the time was a part of the Russian Empire. Shortly after his birth, his family moved to Vilnius, the Lithuanian capital, as his father, an important lawyer, was appointed chief prosecutor of the city. He began to study piano with his mother at home, but then attended the Vilnius Music Academy, where he studied violin with Viktor Antonivich Dobrzynski and piano with Josef Ruzicka. At the insistence of his father, he went to St. Petersburg, where he took a law degree. At the same time, however, he studied composition at the St Petersburg Conservatory with Alexander Glazunov and Maximillian Steinberg, Steinberg was Rimsky Korsakov’s successor and son-in-law. The two became friends. Steinberg had grown up in Vilnius and graduated from the same school as Karnavicius. Steinberg was instrumental in helping Karnavicius obtain a teaching position at the St Petersburg Conservatory, a position which he held until 1927. In 1914, at the outbreak of the First World War, Karnavicius was conscripted into the Russian Army. He was captured by the Austrians in 1916 and taken to the Josefstadt district of Vienna, where he was held prisoner for two years. After the war, he returned to St Petersburg and resumed his teaching position, publicly performing his songs and taking part in string quartet concerts. During his final years in St Petersburg, he participated in the activities of the Contemporary Music Association. In 1927, he returned to Lithuania, teaching at both the Vilnius and Kaunas Conservatories. He also played viola in the state opera orchestra and continued performing with several string quartets. He wrote in most genres and has four string quartets to his credit.
His music combines the traditions of Russian classical music with more innovative harmonies and instrumentation. He was especially fond of using the melodies of Lithuanian folk songs in his music. Like many composers whose creative period spanned from the late Romantic into the modern era, his work can be divided into two different stylistic periods. His first two quartets, dating from 1913 and 1917 are typically late Romantic works which reflect the influence of his teachers at the St Petersburg Conservatory. His last two quartets, dating from 1922 and 1925, are in a different form and harmonic language but do not entirely eschew romanticism.
As noted above, String Quartet No.1 was finished in 1913 just after he left the Petersburg Conservatory. It is dedicated to his Vilnius violin teacher, Viktor Antonivich Dobrzynski. It was published in 1916 while he was being held a prisoner in Vienna. The opening movement, Allegro moderato, clearly shows the influence of Steinberg and Rimsky Korsakov. While there is no Russian folk melody, nonetheless, the music conjures images of traveling by troika over a snowy terrain. The engaging second movement, Allegro, though not so marked is in actuality an elegant and charming scherzo. Unmistakable tinges of those who had studied with Korsakov can be heard. There is a lovely contrasting trio section. The flowing Andante, which follows sounds like something Glazunov might have penned. The finale, Allegro, is ebulliant and full of high spirits, again sporting the imprimatur of his Russian musical education.
This is an appealing work, long unavailable. Our new edition is based on the original 1916 edition. We believe it would make an good choice for concert as well as for home music makers.
