Reinventions
Contrapunctus I (J.S. Bach) (2007) [6:11]
Quattro Pezzi Spagnoli (2009)
Lágrima (Franscisco Tárrega) [1:50]
El testament d’Amelia (Miguel Llobet) [3:34]
Andante (Dionisio Aguado) [4:46]
Studio (Fernando Sor) [8:27]
Contrapunctus V (J.S. Bach) (2009)
Canzoniere Messicano (2004-09)
Cuando sale la luna (José Alfredo Jiminéz) [5:21]
Canción Mixteca (José López Alavéz) [6:34]
Sandunga (Germán Bilbao) [2:46]
Bésame mucho (Consuelo Velázquez) [6:44]
Canzone popolare: La llorona (Traditional) [4:00]
Contrapunctus IV (J.S. Bach) (2008-09)
Quartetto Prometeo
rec. January 2011, Teatro Giuseppe Verdi, Pollenza
ECM NEW SERIES 2072 [66:37]
I have to admit to never having heard of Stefano Scodanibbio before encountering
this ECM release. These “Re-inventions” were his last project,
consisting of arrangements for string quartet of three Contrapuncti
from Bach’s Art of Fugue, as well as Mexican songs
and Spanish guitar music. The haunting sound of these pieces may mystify
to start with, but Irvine Arditti’s comment in the booklet reveals
all: “What is intriguing about these arrangements is that they are
indeed ‘re-inventions’ as Stefano manages to impinge his own
personal style of writing, in harmonics.” Scodanibbio was himself
a virtuoso bass player, and his unconventional approach to composing for
string quartet using sul ponticello effects, harmonics and open
strings allied to slow tempi creates something remarkable and entirely
distinctive.
What results in these ‘re-inventions’ is that the melodies
become at times skeletal echoes of themselves, strange music-box like
preservations of music which is understood and communicated through the
filter of an amazing imagination. While listening I sometimes wondered
if this is the way these pieces might be performed by an ‘authentic’
performance movement 800 years from now, basing their ideas on the fragmentary
evidence and scraps of sheet music found in abandoned and desiccated libraries
like that of the 1960 film version of The Time Machine.
ECM brings these pieces together into their respective regions, with the
Quattro Pezzi Spagnoli first, based on Spanish music for guitar
from the 18th and 19th centuries. The Mexican songs
are collected into Canzoniere Messicano, and the contrast in character
between the two sets is clear from the outset, the Mexican rhythms expressed
with stately, ghostly elegance. Scodanibbio loved Mexico and went there
often to compose. If you dive straight for track 10 and Bésame
mucho by Consuelito Velásquez, you are immediately confronted
with the song which, according to Arditti, he considered the most beautiful
ever written. The Bach Contrapunctus movements are like the light
of the full moon shone through crystal shards onto slowly undulating or
shimmering mercury.
This is the first ECM appearance for Italy’s Quartetto Prometeo,
and they make a very fine job of these pieces indeed. The recording is
excellent, the acoustic deep and rich but not awash with resonance - that
from the strings of the instruments creating its own special halo of sound.
I know it’s a terrible cliché, but this really is music which
creates its own sense of timelessness. It’s contemporary and ancient
at the same time, connecting to something which appeals to the memory
and the imagination, holding secrets and a sense of mystery while arousing
feelings both of familiarity and estrangement. It really is my kind of
music - I hope it’s yours as well.
Dominy Clements
You’ve never heard a string quartet sound quite like this.
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