Utrecht String Quartet - Delden: Complete String Quartets (2007)

Tracklist

01. String Quartet III, Op. 106, "Willink Tetraptych": I. Ant-eaters. Senza rigore
02. String Quartet III, Op. 106, "Willink Tetraptych": II. The Superfluous Witness. Furioso
03. String Quartet III, Op. 106, "Willink Tetraptych": III. Mrs Fopma. Con tenerezza
04. String Quartet III, Op. 106, "Willink Tetraptych": IV. The Eternal Scream. Violento
05. String Quartet II, Op. 86: I. Preludio-Allegro-Postludio
06. String Quartet II, Op. 86: II. Scherzo. Con moto
07. String Quartet II, Op. 86: III. Lento-Allegro
08. String Quartet I, Op. 43: I. Allegro
09. String Quartet I, Op. 43: II. Fantasia. Lento, quasi improvisato
10. String Quartet I, Op. 43: III. Scherzo capriccioso. Allegretto
11. String Quartet I, Op. 43: IV. Finale. Presto
12. Musica di Catasto: Intrada e Passacaglia, Op. 108: I. Intrada. Allegro
13. Musica di Catasto: Intrada e Passacaglia, Op. 108: II. Passacaglia. Lento

Like much tonally oriented music of the mid-twentieth century, the works of Dutch composer Lex van Delden were eclipsed by the more publicized serial movement (also known as the "International" style, though it was not universally embraced.) Yet with the passage of time, critical and popular tastes have dramatically changed and minds have sufficiently opened to allow these pieces to emerge from their undeserved obscurity; listeners looking for intelligent, accessible chamber music that is still bracingly modern may find van Delden's complete music for string quartet to be an important discovery. In a broad sense, this music shows the influences of the early modernists: almost all of van Delden's mature work reveals a deep respect for Bartók, though it occasionally exhibits some ideas from Stravinsky. The three String Quartets (1954, 1965, and 1979) and the Musica de Catasto: Intrada e Passacaglia, Op. 108 (1981), are practically derived from Bartók's great cycle of six string quartets, and the most obvious points of similarity are found in van Delden's rhythmically driven folk dances and occasional imitations of Bartók's "night music." Yet there is more of a consistently brooding character in van Delden's music that seems to reflect his frequent bouts with depression, and Bartók's acerbic bite and wicked humor are almost entirely absent in this somber oeuvre. However, these quartets are quite listenable for their rich harmonies, interesting effects, and somber melodies, and there is enough originality in van Delden's dark expressions to leave a strong impression on even the most skeptical listener. Thanks to the thoroughly convincing performances by the Utrecht String Quartet, which plays these quartets with enormous sympathy and vitality, and the fabulous sound of MDG's unprocessed recording, van Delden's long and unjustly neglected music may have at last found its audience.

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