I’ll start with the basics. This music must be shocking. It must be mesmerizing. It must be awesome. And it absolutely must be assertive. And the most salient ingredient must certainly be a stunning dynamic range – with those dynamic extremes played with a startling suddenness to them. And right from the opening movement of the 1st Quartet, those qualities are all here in abundance, combined with muscular bowing and exhilarating, energetic tempos. I love how the group differentiates between the grazioso of 1 and the capriccioso in 2, much like Quatuor Diotima does. But they do so with the propulsive energy and vigor of Quatuor Hanson, on their 2021 recording for Aparte Records. So we’re off to an unbelievably good start.
The Marmens then capture the atmosphere and moving lyricism of the Adagio, which makes one almost believe it has tonality to it. Quite a feat! And with the presto 4th movement, I am struck by their distinct differentiation between the allegro in 1, the vivace in 2, and the presto here in 4. These are all slightly different tempo and stylistic indications, and it’s fascinating to hear a group make note of it. And this presto is unbelievably fast! Spectacularly so. I exclaimed an enthusiastic WOW! as I listened to it and had to replay the track. Yet they don’t skate over the surface musically; it’s not slick or fast just to be flashy. It’s still enormously dynamic and athletic. These qualities lingered in my mind even as I settled into the serene tranquillo 5th section, which is a breathtaking contrast after that sensational presto.
Strong characterization continues in the Valse, which is unexpectedly coquettish and almost charming, while the 7th is tantalizingly humorous in its capricious mock-playfulness at the beginning (marked gioviale), but soon becomes very angry with itself, with some impressively gruff (but never aggressive) bowing here. The piece closes with a gossamer prestissimo, atmospheric and otherworldly, portending the soundworld (and many playing effects) which would later inhabit his second quartet nearly 15 years in the future.
This piece is often nicknamed “Bartok’s 7th”, but I really don’t hear much Bartok here. It is pure, unadulterated, uniquely and distinctively Ligeti. For me, this alone ensures its success where others fail, determined to link it to Bartok (who died 8 years before). The Marmens’ playing of this is absolutely phenomenal in every way.
Speaking of Bartok, I almost hated to see his 4th Quartet come next on the program, because in my mind, it just can’t compare. And I didn’t want anything to interrupt the mesmerizing hold Ligeti had on me. So I skipped over it and went straight to Ligeti’s Second. Atmospheric and more jagged at the same time, the suddenness of dynamic extremes is, if anything, even more startling. The softs are nearly inaudible (almost too much so for a home listening environment), but create an unbelievable, unsettling atmosphere of anticipation. This 1st movement is marked Allegro Nervoso. Nervous? Oh yeah. Is it ever. And then the molto calmo reveals elements of Penderecki in it (whose own 2nd Quartet was written the same year), while creating an incredible, otherworldly landscape only Ligeti can conceive (and actually notate on the page).
Only in the pizzicato 3rd movement did I feel the Marmens are just a little too meticulous, reinforced by the close-up recorded perspective, which, for the first (and only) time in the entire program, is just a bit detrimental – diminishing some of its uncertainty and that amazing atmospheric “rainfall” effect, where Ligeti pits the players against one another (notating 4 beats against 3, 5 against 4 etc.), while slowly, almost imperceptibly, increasing the struggle until a rhythmic delirium ensues. It is here that the Quatuor Diotima makes a stunning impression, playing it like no one else. (It simply must be heard to be believed.) Then the presto furioso erupts with ferocity. But similar to Quatuor Diotima, it’s not ugly just to be ugly. It’s unpleasant for sure, but with elongated longbows creating actual tones (along with an amazing texture to the sound) rather than just dissonant noise. Finally, the piece concludes with an incredible musical depiction of otherworldly desolation. And the Marmens superbly transport us to the unknown, as the sound dissipates into the unimaginable nothingness of space.
What an amazing and almost inconceivable difference hearing the Marmen Quartet play these masterpieces compared to the efficient, civilized renditions by the Verona Quartet on their recent recording for Dynamic Records. (Not to pick on the Verona Quartet, but theirs is an example where much more is needed than just refined, meticulous playing.) The Marmens are in a completely different league entirely – particularly with their dynamic range and vivid characterization of the contrasting moods of each section, creating a riveting, thoroughly immersive musical experience. They are in every way equal to the best recording of these I had previously yet heard, that by Quatuor Diotima. Both groups are simply extraordinary – demonstrating truly exceptional string quartet playing and an unmatched musical understanding of these pieces.
The next day, I remembered there was more on this disc and grudgingly went back to the “coupling” (Bartok’s 4th) almost as a chore, for the sake of this review. I adore Bartok, but admit I’ve never really enjoyed (or fully understood) his string quartets. And right from the very first measures of the opening movement, I’m instantly reminded why. I hear nothing but unattractive, untuneful attempts at melody, which are deliberately unappealing – especially after the melodiousness of Ligeti. Yes, melodiousness. Even though Bartok is technically tonal where Ligeti could never be, it doesn’t sound at all pleasant.
But after enduring that long 1st movement, things unexpectedly changed. Big time. (At least with the Marmen Quartet playing it.) The prestissimo con sordino is gossamer and ethereal, played absolutely pianissimo, with sharp, stabbing accents and sforzandos jutting out from the whispered, bustling frenzy. And suddenly, I was completely drawn into it, captivated by what I was hearing. And the Lento – well, I’ve never heard it played like this. How can I never have heard it sound so involving and emotionally moving? Or the Allegretto pizzicato so witty – almost jocular? And, of course, the final Allegro molto is fairly easy to bring off and most groups do it well, but nothing prepared for this. It is positively wild here with the Marmens cutting loose with it. Right from the get-go, the rolled quadruple stops are almost feral in those opening measures. And they just continue with untamed propulsion from there. Not that their playing is vulgar or in any way unmusical – far from it. But it certainly made me sit up and take notice. As did their pronounced observance of the multitude of markings – marcato, scherzando, sffz (et al), and the little whiplash hairpin dynamics. I was simply astounded.
So while I still don’t care for that opening movement, the rest of the piece is absolutely riveting as played by the Marmen Quartet. (And I didn’t think I’d ever say that about a Bartok string quartet.) It makes me almost hope these folks record more Bartok in the future. But first! – they absolutely MUST record the Penderecki Quartets next. I could not imagine anticipating another recording more than that.
Don’t think for a moment by my descriptions that the playing here is in any way exaggerated, or “enhanced” by the recording. No, this is, quite simply, magnificent string quartet playing – infused with the most amazing energy and charisma you’ll ever hear – captured with palpable realism by the microphones in a natural acoustic. String quartet recordings simply don’t get any better than this. (And that’s saying a lot; I’ve been hearing some awesome recordings lately.)
Final observations. The Marmen Quartet formed in 2013 while students at the Royal College of Music in London. Their playing (and sheer accomplishment) on this recording is fantastic beyond words. And as noted above, the BIS recorded sound is superb. It is in every way equal to Pentatone’s (CD-only) recording for Quatuor Diotima. The sheer presence of the group places them right in the listening room with you without being at all forward or aggressive – a remarkable achievement for any recording engineer (and stereo system). And I’m very pleased that every section/movement is individually tracked – just as it should be.
I haven’t been this excited about a new recording since, well, since Quatuor Diotima’s Ligeti 2 years ago. I now have my “Record of the Year” list started with this new one.
