http://bocian.bandcamp.com/album/reinhold-friedl-string-quartets


released July 20, 2018

Quatuor Diotima

Yun-Peng Zhao (violin)

Constance Ronzatti (violin)

Franck Chevalier (viola)

Pierre Morlet (violoncello)


recorded at La Muse en Circuit, Paris, December 5 & 6, 2016

Recorded and mixed by Camille Lézer

Mastered by Rashad Becker

Cover Photo: Sandro Zanzinger

Artwork: Joanna John

THE MUSIC

Reinhold Friedl’s string quartets do not pretend to be string quartets: they are anti-Goethe. There is no sophisticated conversation of four elder gentlemen, sit­ting in arm chairs. The music is physical work for the performers and intended to be physical pleasure for the listeners. All three quartets are based on the same idea: smooth transformations from a given texture into another one. The random-driven details vary between the pieces and the parts of the pieces. Meanwhile Reinhold Friedl developed a software in the frame of a PHD project at Goldsmiths University London to help him modeling these texture transpositions.

STRING QUARTET NO 1 (2005 dedicated to Anton Lukoszevieze, commissioned by BBC London) is focused on a ghostly sound choreography, made possible by a strange choreography: instruments are only bowed in circles. These simple movements combined in an asymmetric rhythmical structure causes complex soundscapes, that tend to develop to a certain final state, and they do, driven by a hypnotic force.

STRING QUARTET NO 3 (2016, dedicated to Pierre Morlet, commissioned by G((o))ng Tomorrow Copenhagen) can be listened to as a reference to some modern string quartet sound. Famous chords and melodies are quoted and hidden in their pure quantity. Sweet sugar music. An essay how to compose a decrescendo without a culmi­nation point. Slowly and precisely slip away, ending nowhere.

STRING QUARTET NO 2 (2009 for Quatuor Diotima, commissioned by the French State for the Festival Les Musiques in Marseille, France) is written for Quatuor Diotima as a sportive piece. After a charming beginning, it becomes more and more a physical challenge for the performers, playing tremolo almost without break, to get the music to the final grooving rhythmical end: get out of my face !



Étant anti-Goethe, les quatuors à corde de Reinhold Friedl ne prétendent pas être .......
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