Rosamunde Quartett TIGRAN MANSURIAN String Quartets

Mansurian writes extremely well for quartet; the textures and polyphonic working are basically traditional, with little in the way of outré effect. … The Second Quartet consists of three slow movements, putting one in mind of the five Adagios of Shostakovich’s Fifteenth Quartet. This is a work of ravishing if crepuscular beauty, deeply tonal, whose melodic language is partly influenced by a song by the much-loved Armenian national composer Komitas as well as by Armenian sacred music of the middle ages. … The performances by the Rosamunde Quartett of all three works bespeak utter identification with the music and create a very finely tuned chiaroscuro of quiet dynamics. (Calum MacDonald / International Record Review)

Both string quartets are beautiful, profoundly moving pieces of great consolatory power and expressive strength, albeit in discreet and introspective. However, for all its apparent simplicity, Mansurian’s music cannot be compared with what is now often referred to as Holy Minimalism… Because of its predominantly melodic character, Mansurian is more linear and more coherent from a stylistic point of view. … These splendid performances were recorded under the composer’s supervision and have a strong ring of authenticity. They are not likely to be superseded anytime soon. (Hubert Culot / Music Web)

Imbued with dark emotions, the music is not meant for easy listening, but like a good novel, it communicates a real human condition and predicament. Through these intimate compositions, we get closer to the inner world of Tigran Mansurian, the enigmatic and soulful composer with a searching mind. (Ara Arakelian / The Armenian Reporter inernational) 
  

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