In his "Preface" to the project, Irvine Arditti remember this is the largest project that has brought together and that "no recordings made so far with the quartet was also therefore that it" . The musicians have discovered the universe of the composer during his "Quartet No. 2" in 1980. It was the work more difficult as they had to deal with until then. For the violinist, it was "an extremely rewarding experience, proving that no string quartet is insurmountable if one spends enough time."
Since that time, the composer all his quartets dedicated to "Arditti". Their reward? "In true mastery and inventiveness of each work to make our interpretations endless inspiration journey, without ever tiring, in an attempt to push our limits, not only for the music but also for all works demanding that we would have to address. "
The recording of all parts of these disks was made recently, in 2011 and 2012, mainly in "Hans Rosbaud-Studio" of Baden-Baden. It is not a compilation includes previous discs but a desire to offer and deliver this integral. The project is therefore consistent.
Such panorama and such a perspective is interesting: it is building a global idea that overlooks more than 40 years the course of the creator! It is almost certain that the composer developed his interest ropes after meeting with the "Arditti" since they were very "faithful".
A universe "willfully difficult and impenetrable" as Fabrice Fitch wrote in his portrait of the composer in the booklet?
For proof, just look at the front of the booklet presents six measures of its 6th string quartet from 2010: one discerns a change of pace by far, at least an intensity shade on each note , plus other implementing guidance on that note: almost a work of art to contemplate this introduction; so we imagine the formidable difficulty of the play!
But useful and she serves is this extreme virtuosity about the coins? Is it at the service of the invention and is not she down to snobbery trouble?
Throughout this journey, many plucked, abused, rubbed harshly. A cold beauty, serious, dark, slightly bitter, crunchy, without any humor. A little dry and could be "repulsive" for the "profane" of this music, with the proposed experiments so abruptly in a supreme vertigo.
Many figures constantly aborted, disrupted and broken upon presentation. The attention may decrease during the progression but is constantly relaunched.
We listen to these works to be surprised, taken aback, see what we can write so much today for this historic training, bringing such a rich heritage and an impressive catalog. So how to write "new"?
You let yourself be enchanted by course as and listening games; the lyricism, the bitterness, the liveliness, the requirement, play ropes. An overview of the possible spectrum to perform and provide for a small string workforce.
Voltage, stiffly, one enters the intoxication of something else and listen differently by these upheavals, this infinite roughness abstract. But often we need to then give a little time, especially after the first listen. We must stand attention, and know to ask.
Note the presence of a soprano "extra" within the "Quartet No. 4", causing a very nice compositional effect, changing by this beautiful insertion that expands the spectrum and range of the composer and that really reveals be a plus. Too bad he did not pursue this idea in his successive works.
The rating is also more snatches of melodies in his last compositions, with a more lyrical side, almost "beautiful"! More shimmering, with bits of "chromatic scales shortened" in pianissimo, "shadows" vociferous ...
The "Arditti" are, by their radical commitment, perfect phalanx for this achievement.
Elitist music? Experimental? Written for a small minority? Anyway for anyone curious about the music of our time. To listen and listen again after a rest "compensatory deserved" ...
Some listening impressions ...
I CD, "Sonatas for String Quartet" (1967): Remote agreements which then swell pizzicato, plucked and dark bows come to fill the friction and divert orientation. Long sparse outfits come soften the way, and to sound the preceding lines.
The agreements are constantly relaunched. Intense concentration is required.
Attention steadily declining but is constantly relaunched; this tiring process attention. Then we need to give some time, especially after the first listen. We must stand attention, and know to ask.
CD I, "String Quartet No. 2" (1980): Idem but with a very slow processing of string glissandi in late, giving him a short time an unusual lyricism.
Sometimes it grows hear other instruments as strings, like a crystal flute ...
CD I, "Adagissimo" (1983): crisp and crunching in turn.
CD II: short quartets in their duration but still very dense.
CD II, "String Quartet No. 3" (1987): less nervous, "more controlled" one is tempted to write. Less systematically "salient". Much more agitated II.
CD II, "String Quartet No. 4" (1989-90): 1st movement always sharp. Then at the 2nd, beautiful insertion and presence of a singer, which expands the range and palette of the composer and is really be a plus.
Back to the only music in the 3rd movement in games of glissandi. In the last movement, perception very fast micro-figures. Back to the singer during the composition after 3 '. It even has a long expressive solo that ends the quartet.
CD II, "String Trio" (1994): very short piece with a collected atmosphere where one wonders about what is meant.
CD II, "String Trio" (1995) is added a long silence from the 17th minute, as if to "digest" what you just heard. To better leave then on the pace and raspy agreements. Back to the final with silent bursts of agreements and life, which then switches off.
A pause is then necessary to reverse that serious experimental atmosphere.
CD III: less "dry and experimental", with different titles than simple variation of "String Quartet".
III CD "String Quartet No. 5" (2006): more snippets of melodies in I. More lyric too.
CD III "Dum transisset I-IV" (2006): More lyric. Almost "beautiful"! More shimmering. Tips of the "chromatic scales shortened" of pianissimo, "shadows" vociferous.
III CD "String Quartet No. 6" (2010): return to a darker side, with figures constantly aborted, disrupted and broken upon presentation. A report very choppy and sometimes irritating. Less pleasing to the ear and more radical, with a return to abstraction.
