Matthias Pintscher - Figura I-V - 4th String Quartet - Dernier espace avec introspecteur (2004)
Matthias Pintscher - Figura I-V - 4th String Quartet - Dernier espace avec introspecteur
XLD Rip | FLAC+CUE+LOG | Covers | 78:19 | 357 MB
20th/21st Century Classical - Contemporary | 2004 | Winter & Winter
XLD Rip | FLAC+CUE+LOG | Covers | 78:19 | 357 MB
20th/21st Century Classical - Contemporary | 2004 | Winter & Winter
Teodoro Anzellotti, accordion
Arditti String Quartet
TRACKS
Figura I-V (1997-2000), für Akkordeon und Streichquartett:
01. Figura I, per quartetto d'archi e fisarmonica (1998) [07:18]
02. Figura II, Frammento per quartetto d'archi (1997) [04:21]
03. Figura III, per fisarmonica (2000) [09:22]
04. Figura IV, Passaggio per quartetto d'archi (1999) [04:54]
05. Figura V, Assonanza per violoncello (2000) [06:21]
06. 4° Quartetto d'archi "Ritratto di Gesualdo" (1992) [23:42]
07. Dernier espace avec introspecteur (1994), Betrachtung einer Raumplastik von Joseph Beuys, für Akkordeon und Violoncello [22:19]
Everyone knows them: these life-size, elongated bronze figures by Alberto Giacometti. Matthias Pintscher’s five-part cycle "Figura", for string quartet and accordion, composed between 1997 and 2000, arose from an engagement with Giacometti’s work as a sculptor. Pintscher too regards his composition as an 'essay': an approach, a paraphrase, a commentary in sound – a direct, overly naïve translation of the visual object into the medium of music is far from what he intends. Someone hearing the cycle for the first time may initially be surprised by the fragility of this music. The string quartet, and the accordion even more so, seem pretty solid sound-producers to us. Yet what Pintscher deliberately looks for are, on the contrary, the breaking points where the sound is interfered with. The music constantly follows fault lines, and sound tips over into noise or silence.
In this work – his longest piece of chamber music so far – Pintscher has created music of great subtlety. The fact that the music operates with an extremely restricted range of material may be seen as an allusion to Giacometti. Like the latter, Pintscher too 'paints' with finely graded grey tones; what he has in mind is a music with a sculptural spatiality, where the detail is constantly illuminated from different viewpoints. Both artists, Giacometti and Pintscher, deliberately inflict injuries on their material. On his path to dematerialisation, Giacometti leaves behind emaciated bodies whose surface is as crude and rough-hewn as the bursting walls of his studio. The poetry of Matthias Pintscher’s music relates to this sort of threatened beauty.
This reciprocal relation to the other arts is no isolated instance in Pintscher’s output. Perhaps his interest in the visual arts and literature also reflects scepticism about any view of music that is too caught up with itself. Like many composers today, he distrusts rigid compositional systems. Instead of preordained structures, Pintscher’s composing is driven by associations and impulses, with no academic security. So it seems only logical that his musical imagination is often set alight by the other arts. The works of Mallarmé and Rimbaud, Cy Twombly or Eduardo Chillida are reference points for his aesthetic.
"Dernier espace avec introspecteur" for accordion and cello, dating from 1994, is conceived as the “observation of an installation by Joseph Beuys” which the composer saw at the Staatsgalerie in Stuttgart: "The spatial configuration and the relationship between objects led me to make associations between sounds, structures and proportions which then flowed on into the work".
It was Hans Werner Henze who motivated Pintscher to take an interest in the composer Carlo Gesualdo (born around 1560). One fruit of this encounter is the 4th String Quartet; in the subtitle, Pintscher calls it a portrait: "Ritratto di Gesualdo".
Carlo Gesualdo has become a glittering personality within the history of music; he was a self-willed individualist, both in equal measure: Prince of Venosa and withdrawn composer, brutal and sensitive. His unbounded jealousy peaked in the bestial murder of his first wife and her lover. Suffering a persecution complex and strange illnesses, Gesualdo had the entire forest around his country estate, 100 kilometres north-east of Naples, chopped down. Later, at the legendary d’Este court, he found a second wife, whom he mistreated with consistent brutality. A truly extreme life – and Gesualdo’s composing was similarly unbounded: a peak of mannerism. His madrigals deal with death, torments of the soul, and Eros, and their complex layout and bold harmonies penetrate into unknown regions of musical expression. To that extent, 20th century avant-gardists who rediscovered the eccentric composer regarded him as one of them.
Pintscher’s psychogram addresses the inner biography of the Renaissance composer. In a form of music that he calls "imaginary theatre", the instrumentalists become the protagonists of an implicit plot. In the 4th Quartet, it’s the manic repetitions and sharp accents, taken to an extreme, that make one think of Gesualdo. Towards the end of the composition, headlong note repetitions lead to ecstasy: "come un maniaco, tutta la forza".
Once can scarcely recognise the compositional basis Pintscher chose for the string quartet: the five-part madrigal "Sospirava il mio core" from the Third Book of Madrigals. The voice-leading and intervallic sequences in Gesualdo’s score are "imitated, condensed or extended over broad spans, and the harmonic progressions changed in colour". Pintscher follows the metamorphosis principle: he has tried "to think further into its figurations, to take the gestures and sighs further, to heighten the affects". All that remains of the madrigal’s text is a fragmentary residue at the end of the composition: the words "morir" and "sterben", spoken breathily by the four musicians in the string quartet.
X Lossless Decoder version 20101120 (125.2)
XLD extraction logfile from 2010-11-27 11:51:53 +0100
Matthias Pintscher / Figura I-V - 4th String Quartet - Dernier Espace Avec Introspecteur
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