Max Bruch (1838-1920)
Quatuor à cordes en do mineur, op. posth.
Quatuor à cordes n° 1 en do mineur, op. 9
Quatuor à cordes n° 2 en mi majeur, op. 10

Quatuor Diogenes

Stefan Kirpal, violon
Gundula Kirpal, violon
Alba Gonzalez i Becerra, alto
Stephen ristau, violoncelle

Ignorons les sempiternels concertos pour nous intéresser aux trois quatuors tout à fait estimables du compositeur allemand Max Bruch. De coupe très classique, l'opus posthume écrit par un adolescent de quatorze ans et redécouvert récemment, est une composition solide élégante et d'un lyrisme généreux, héritière de Haydn et de Beethoven. Quatre ans plus tard le compositeur récidive avec deux Opus 9 et 10 qui révèlent par-delà l'élégance de la forme (sonate) et une recherche harmonique (nombreuses modulations) déjà sophistiquée, son pur génie de mélodiste, sans oublier l'attention portée à chaque voix du quatuor (le contrepoint bien présent avec de vigoureux fugatos dans les mouvements finaux) et des développements toujours maitrisés. On pressent dans cette « perfection » si précoce, le futur professeur de composition. Bruch affectionne les climats sombres et bruissants (Adagios d'entrée) et les contrastes dynamiques roboratifs alla Beethoven. Tout en liant l'ensemble d'un romantisme hérité de Schumann et de Mendelssohn. Fort belle musique en vérité qu'il faut sans tarder découvrir, d'autant que l'interprétation du Diogenes Quartet ne manque d'aucune des saveurs nécessaires à la confection de ces mets délicats. (Jérôme Angouillant)

The two opus-numbered quartets of Max Bruch were first recorded only in 1993 by an Italian ensemble, and the recognised expertise of the Diogenes Quartet in music of this style and era makes their new recording the obvious first choice, but their album is further enhanced by the inclusion of a C minor quartet which was rediscovered as recently as 2013, in a box in the archives of the Mozart-Stiftung in Frankfurt. Further research revealed that this was an unpublished work by Bruch, composed in 1852 at the age of 14, in application for a scholarship from the foundation. Louis Spohr, in approving the application, was fulsome in his praise: ‘I am very interested to learn more about him, as I prophesy a brilliant career for him.’ This youthful effort is clearly influenced by the estimable models of Beethoven and Schubert, but its composer’s melodic gift is already revealed by the slow movement, an enchanting Notturno of great expressive strength. This is a subtle, finely balanced movement, woven with precocious sophistication by the teenage Bruch into an intricate fabric of voices, which cushions the sensitive melody, as it were, on a bed of roses. Four years later – and still only 18 – he referred back to elements of the quartet in his first acknowledged work in the genre, designated Op.9 The tunefulness of all three quartets will come as no surprise to anyone familiar with his best-known (only known?) work, the First Violin Concerto, and efforts have been made from time to time to expand the recognition outside his native Germany of a broad oeuvre in all the major genres, but with limited success. The string quintets have achieved a fragile toehold on the repertoire, but perhaps thanks to the Diogenes’ spirited advocacy, the quartets will join them.