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Review

Brian Olewnick, The Squid’s Ear, September 19, 2019
Monday, September 23, 2019 Press

Martin (b.1975), a new name to this listener, is a Québecois composer. His Musique d’art pour quintette à cordes is for string quartet plus a double bassist, here Quatuor Bozzini (Clemens Merkel, violin; Alissa Cheung, violin; Stéphanie Bozzini, viola; Isabelle Bozzini, cello) augmented by bassist Pierre-Alexandre Maranda.

The piece is in five sections, each lasting between ten and fifteen minutes. Although almost entirely consisting of long-held notes, I don’t particularly hear the music as drone-related. Martin seems much more concerned with timbre and very physical textures, reminding me a little of the string music of Helmut Lachenmann. The opening section is all whispers, bows drawn lightly across either damped strings or portions of the instruments’ bodies (I think). Gradually, the tones gain substance, sliding up against one another microtonally, grain against grain. Even so, the first movement is fairly relaxed, with an implicit, soft rocking back and forth. The next section introduces the darkly growling bass that will feature throughout the work’s remainder, but also even rougher, harshly vibrating strings where the vibration of the cords is a palpable presence, though Martin also injects a substantial amount of “air” into the proceedings, ensuring that the overall effect isn’t claustrophobic. It dissolves into drips and drizzles by the movement’s end. The next portion is somewhat eerie, with sliding tones oozing past each other, undergirded by heavy bass lines, the higher pitches popping like bubbles towards its conclusion. This aura is picked up in the fourth section, soon developing into staggered, quasi-rhythmic short bowings from bass and cello beneath high chirps — a kind of ungainly, but charming, march. In the last few minutes, the music wallows around an A, a cloudy, rich tuning session, vibrating intensely, casting off all manner of particles. Martin pulls all these strands together in the final section: the rich, thundering bass, the ethereal high microtones and even an underlying sense of near-Romantic melody, just a touch, as though a guiding spirit might have been Rachmaninoff’s Isle of the Dead all this time (far more likely only this listener’s takeaway).

Very impressive, super-solidly played by the Bozzini plus one — a heady outing.

Very impressive, super-solidly played by the Bozzini plus one — a heady outing.

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