Session Report: Final Frontier

1_1_JQ_2015_012

The Jerusalem Quartet’s second instalment of Bartók string quartets brings a new delicacy and clarity to these works, which are so often portrayed as brutal. Violinist Alexander Pavlovsky and violist Ori Kam discuss their approach with Tom Stewart

‘Our vision of Bartók has been different from a very early stage,’ says Jerusalem Quartet violist Ori Kam. The group has just completed its two-part Bartók cycle with a recording of the composer’s first, third and fifth string quartets, following their disc (released in 2016) of the second, fourth and sixth that stood out for its clarity and lightness of touch. The works’ faster passages mesmerise the listener with their swirling currents and grinding changes of gear – and even the most tranquil episodes can feel like eldritch fever dreams – but there is nothing overwrought about the quartet’s playing. ‘Instead of trying to overwhelm,’ Kam says, ‘we wanted to be as transparent as we could – more transparent than in recordings that have come before.’..

Already subscribed? Please sign in

Subscribe to continue reading…

We’re delighted that you are enjoying our website. For a limited period, you can try an online subscription to The Strad completely free of charge.

  • Free 7-day trial

    Not sure about subscribing? Sign up now to read this article in full and you’ll also receive unlimited access to premium online content, including the digital edition and online archive for 7 days.

    No strings attached – we won’t ask for your card details

  • Subscribe 

    No more paywalls. To enjoy the best in-depth features and analysis from The Strad’s latest and past issues, upgrade to a subscription now. You’ll also enjoy regular issues and special supplements* and access to an online archive of issues back to 2010.

 

* Issues and supplements are available as both print and digital editions. Online subscribers will only receive access to the digital versions.