プリズム III～ベートーヴェン/バルトーク/J.S.バッハ

世界が注目する弦楽四重奏団のニュー・アルバム

10代半ばのメンバーがサマーキャンプで出会い、2002年に設立されたデンマーク弦楽四重奏団は、気鋭の四重奏団として現在世界的な注目を集めています。2018年には初来日公演を行い、日本の音楽ファンの心を鷲掴みにしました。このアルバムは『PRISM I』『PRISM II』に続くECMレーベルのプロジェクトで、前作、前々作と同様ベートーヴェンの後期作品が1曲選ばれ、バルトークとバッハの作品を合わせています。
ユニバーサル・ミュージック/IMS

The rather abstract-sounding title of this release by the Danish String Quartet comes from a series; the Prism recordings select a late Beethoven quartet and program it with an arrangement of a relevant Bach work as well as a later quartet from a composer who came under the influence of late Beethoven. The idea is that the original Bach work is refracted by Beethoven as if by a prism. It sounds like a slightly involved apparatus, and it is; the influence of the late Beethoven quartets is nowhere near as direct as the group suggests in its note, and one can even argue that Bartok was the first composer to really attempt to come to terms with them directly. This said, the importance of Bach in the music of late Beethoven is large and arguably under-explored, and there are several strong draws here, not least the performance of the Beethoven String Quartet No. 14 in C sharp minor, Op. 131. The Danish String Quartet sharply highlights the juxtaposition of contrapuntal and folkish material in this work, and their performance feels strongly connected to Bartok, who exploited the same contrast. Listen to the fifth-movement Presto of the Beethoven to hear an example of the unusually light and joyous quality the group brings to this work, despite its heavy opening. ECMs sound, always impressive, could hardly be improved upon; the acoustic environment of an old indoor riding stadium results in clarity without the harshness of church environments or the over-intimate quality of some studio recordings. An intriguing Beethoven release that is both expertly executed and worthy of discussion.