music by Mincek, Rihm, Franzon, and Lara
- Alex Mincek: String Quartet No. 3, “lift-tilt-filter-split”
- Wolfgang Rihm: Quartettstudie
- David Brynjar Franzson: On Repetition and Reappearances
- Felipe Lara: Corde Vocale
Mivos Quartet – Olivia de Prato and Joshua Modney, violins; Victor Lowrie, viola; Mariel Roberts, violoncello
String quartets are tricky business for composers and quartets alike. How does a composer compete with The Masters when writing new works? How does a quartet make a name for itself without performing works that haven’t been played a billion times already, especially since the realm of “contemporary music string quartets” is a pretty dense and tricky market already? Looking at its website, Mivos Quartet has a lot of exciting repertoire, programs, and opportunities to foster new music for string quartet. Their debut album Reappearances is a sonic dynamo of unrelenting musical power. The four quartets performed are staggering compositions in their own rights and Mivos’ interpretation and performance of each piece is absolutely transfixing. Okay, so maybe I’m gushing a bit. This is one of those discs that I cannot have playing while I’m writing about it. Usually I’m listening to the disc I’m writing about just to keep the sounds in my head. With Reappearances, I end up listening instead of writing.
Mivos hits hard right out of the gate with Alex Mincek’s String Quartet No. 3. Aggressive noise-based chords bounce around the group over a background nattering and gradually a straight-tone groove emerges in contrast. The counterpoints of texture and color are complicated and rigorous but still approachable and engaging through the palpable waves of musical gestures. It is a rough ride but Mivos’ sound is glassy, silky, and clean. The quartet makes sense of the abstract gestures and shapes the whole experience into quite an aural ride.
After the rough and tumble world of Mincek, Wolfgang Rihm’s Quartettstudie open with soothing and quiet shapes. These shapes unfurl into tendrils of counterpoint and texture and again Mivos can take complex thorny atonality and communicate its structure by drawing on more overt emotional states. Rihm’s music is also rich food upon which they can feed as it is full of contrast and drama with a solid emotional core.
On Repetition and Reappearances by David Brynjar Franzson is less active on the surface than the other works on this disc and Mivos works the silences around the moments just as expertly as the moments themselves. Franzson’s work is full of quiet murmurs, sporadic moans, and disconnected textures which all hang together according to the simple metaphor of the work’s title. Mivos uses a defter touch of tone on this particular composition given the stark and direct nature of the sparse musical moments.
Finishing off the disc with a bang, Felipe Lara’s Corde Vocale is hyper-colorful full of rich singular moments of arrival. Less a work of counterpoint and juxtaposition, Lara’s composition is more akin to aural surfing; the ideas build and grow around the listeners and then inevitably and inexorably crash down around them. Mivos performs this work as a single polyphonic hyper-instrument. This piece is a strong closer for the group and an excellent way to complete an auspicious debut disc. I’m excited about what they might release next.