Claudia Molitor’s world premiere received its setting in the most beautiful of Bristol’s venues, with extraordinary acoustics enabling a profound realization of the first monophonic bars of und lass Dir jeden Tag geschehen. The String Quartet, Quatuor Bozzini provided an enigmatic interpretation which encompassed many timbres available for use on the violin, viola and cello, with each of these used and incorporated into a never-ending cacophony of dissonances and disjunct melodic movements.
The next piece performed, written by John Cage, involved each member of Quatuor Bozzini being distributed to opposite corners of the room. Each sound travelled through the audience, giving them unrivalled access to the sound of the quartet. Even so, the idiom given attention by the performers was not of my liking, due to the somewhat gnawing sound of continuous arco.
Koan, the final piece due to its ‘complex toning system’ led me to believe at first that there would be an ensuing melody entering above the continuous quaver movement in all parts, but to no avail. Almost minimalist in its outlook, the piece doesn’t seem to move beyond a groaning attack on harmony.