Montréal, Monday, October 2, 2006 — Under the theme “Mots croisés” (crosswords), the Bozzini Quartet once again offers up a wonderful combination of the Classics and the Moderns. For the 2006-2007 season, the concerts will pair three quartets by Franz Schubert with contemporary works from Japan (October 20, 2006), Scandinavia (December 12, 2006), and Great Britain (March 15, 2007). The concert of October 20 proposes works by Chiyoko Szlavnics, Jo Kondo, and Franz Schubert.
After having put the Classics on hold for the 2005-2006 season, the Bozzini Quartet gladly delves into the world of that great melodist, Franz Schubert. The Montréal concert series begins with his Quartettsatz D.703 (1820), a real gem from the string quartet repertoire. It was intended as the first movement of a sadly unfinished twelfth quartet.
Commissioned by the Bozzini Quartet, Gradients of Detail (2005) by the Canadian composer of Japanese origin Chiyoko Szlavnics was premiered at the Berlin MaerzMusik festival in March 2006. Her composition unfolds in long, sinuous arcs, shifting between stillness and movement. Listening to this work could be compared to examining a painting under a microscope, paying special attention to minute details such as the texture of the paints and the hues of the pigments.
Following a recording of quartets by Jo Kondo and Howard Skempton for the Deutschlandfunk (DLF) in Cologne, the Bozzini Quartet will perform in Montréal the Japanese composer’s three quartets. Principally interested in the musical objects of composition, his music is characterized among other things by timbral differences and the use of hoquets. The title Hypsotony (1989) invented by Kondo is a combination of the Greek words for height and sound. The idea of raising the pitch is manifested by rising glissandi (of roughly 1/4 tone) on each note played by the instrumentalists. In Mr. Bloomfield, His Spacing (1973), the musicians use gongs to punctuate the musical phrases, first within heterophonic textures, then in independent lines. Fern (1990) sees the composer experimenting with the juxtaposition of several short sections or fragments in order to create a static form.
Moving freely from avant-garde events to traditional concerts, the Bozzini Quartet, “Discovery of the year” at the Prix Opus 2001, presents around forty concerts a year. Devoted to music as a universal language, these four young artists communicate an aesthetics that transcends the tastes of any particular era or musical tradition; playing music that is famous and music that is unknown, music familiar and music strange, music old and music new. The group especially enjoys collaborations with living composers, premiering quartets by Christian Wolff, Michael Oesterle, Malcolm Goldstein, Gerald Barry, Tom Johnson, Jean Lesage, and many others.
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