For its 23rd CD, Quatour Bozzini has produced a monograph recording with an almost-chronological retrospective of music by Christopher Butterfield. Spanning more than 20 years, it contains three pieces for solo strings and two string quartets. Clinamen (the Latin name Lucretius gave to the unpredictable swerve of atoms), for solo violin (1999), is made up of 80 cards, each containing a short musical phrase, combined according to the free will of the performer. Intentionally inchoate, the piece is bound together most prominently by the honey tone of Clemens Merkel’s playing, and yet, there are whispers of its compositional technique, as though related materials were sketched, bent through historical filters from classical music to modern, and then splayed by means of William S. Burroughs’ cut-up technique.
Fall (2013), written for the full quartet, is the perfect vehicle for the Bozzinis’ signature non-vibrato playing. At times haunting and tense, their sound is also unadorned, unaffected and exquisite. Engaged in material processes of rotation and accumulation, the ensuing tone of the piece is plaintive and distantly evocative of Cage’s String Quartet in Four Parts. The eponymous Trip (meaning possibly all of: excursion, to dance or run lightly, to stumble or fall, to release and raise an anchor, and to hallucinate) is an outlandish journey from a short Scorrevole movement augmented by a random talk radio broadcast, through a moto perpetuo, to a swaying, recapitulatory Scherzo. The last movement, marked Adagio molto, is longer than the preceding movements combined, and sounds not simply slow but like a time-stretched recording, where the smallest, usually ordinary timbral deviation is magnified and burnished, while notes, lines and harmonies are expanded into tranquillizing beauty.