As a collection, Cage’s string quartets permit an ensemble to explore different ways of collaborating. Here the Bozzinis demonstrate their impressive range, playing together, apart and indifferently.
Fokkens declares a natural and mature style through efficient notes and rhythm.
Monteverdi and Scelsi are well paired. Both could infuse a line, vocal or otherwise, with mysticism or elemental passion and create impetuous and visceral statements.
As we’d expect from a seasoned musician, Ramsay’s quartets reveal a deep understanding of and admiration for the genre’s giants.
Prokofiev’s awkward First provides fodder for insipid remixes.
Naxos’ third installment of Coates’ quartets delivers what appears to be her most recent quartet.
An enormous stack of string quartet releases beckons. I’ll try for concision rather than rumination in this first of several posts.
First heard ages ago in concert, Hartke’s violin duo Oh Them Rats is Mean in My Kitchen (1985) made a lasting impression
Ever willful, Pettersson forges sternly lyric melodies in which every pitch counts. Typical of the composer, gorgeous tonal moments, usually cadential, emerge from dissonance.