As spoken

A softly ascending line in the second violin, which gradually gains self-confidence. Then a high tremolo and cautious pizzicati can be heard. Jean-Jacques Dünki's string quartet Madrigaux begins tentatively - as if the Zemlinsky Quartet has to gradually open up the world of sound. The musicians charge the notes with meaning; the interpretation seems almost linguistic. As the booklet explains, the Basel pianist and composer drew inspiration for the work from seven different texts (from Giacomo Leopardi to Franz Kafka), which are characterized by frailty and transience. If you would like more information, you can watch Elmar Budde's half-hour, somewhat choppy introduction, which can be seen on the accompanying Blue-Ray disc (alongside the concert recording). The work was commissioned by the Gesellschaft für Kammermusik Basel, whose artistic director Laurentius Bonitz also founded the bmn-medien label. This vivid concert recording is the first production.

In the second movement "al pié" of Dünki's quartet, repeated notes are hammered with great force before a Machaut quote creates a completely different sound world. The Adagio "clave" has tonal echoes and a floating string section. All in all Madrigaux a little into its individual parts. There is a lack of compelling developments and coherent elements.

The clarity of interpretation, reminiscent of language, also continues in Zemlinsky's first string quartet. It is not only in the melos-soaked first movement that there is precise articulation. The slender, bright, precisely balanced sound of the ensemble serves the transparency. The four Czechs, who also name themselves after Zemlinsky, place the Furiant trio of the Allegretto on the dance floor; in the dramatically blazing third movement, they have staying power. Even if first violinist František Souček is not always entirely sure of his pitch, the quartet as a whole is convincing as a homogeneous collective. The team is the star.