Bergamot Quartet – In the Brink (2022) [FLAC 24bit, 96 kHz]

Bergamot Quartet - In the Brink (2022) [FLAC 24bit, 96 kHz] Download

Artist: Bergamot Quartet
Album: In the Brink
Genre: Classical
Release Date: 2022
Audio Format:: FLAC (tracks) 24bit, 96 kHz
Duration: 50:52
Total Tracks: 9
Total Size: 915 MB


1-1. Bergamot Quartet – Ode on a Broken Loom (09:09)
1-2. Bergamot Quartet – I. Agua de Florida (05:57)
1-3. Bergamot Quartet – II. Agua de Rosas (06:44)
1-4. Bergamot Quartet – III. Agua de Manantial (05:58)
1-5. Bergamot Quartet – Undecim (07:02)
1-6. Bergamot Quartet – I. Lost (02:14)
1-7. Bergamot Quartet – II. Flood of Ashes (04:13)
1-8. Bergamot Quartet – III. Human Nature (03:18)
1-9. Bergamot Quartet – IV. In the Brink (06:13)


Bergamot Quartet releases its first full length recording with premieres by Suzanne Farrin, Tania León, Paul Wiancko, and Ledah Finck, who is also a violinist in the group. The critically acclaimed quartet merges a refined chamber music sensibility with a versatile and precise approach to contemporary scores, making a valued contribution to the repertoire with works that can be performed by new music specialists and generalized quartets alike.In the Brink demonstrates an ensemble that is evolving the string quartet idiom from a strong grounding in its well established performance practice. The works included on this debut album from the group highlight their symbiotic playing style along with their versatility in realizing different expressive demands. All four works are heard in their premiere recordings, and represent significant contributions to the string quartet discography that are sure to make their way into the repertoire of other ensembles.

The metaphorical connection between music and textiles proves a fertile source of inspiration for Paul Wiancko’s Ode on a Broken Loom. Individual notes are like fibers, spun out to create a rich tapestry that takes on structural shape. The interrelationship between voices, or strands of material, is reinforced by imitative gestures between instruments. Wiancko’s loom is not thread with flimsy material — Ode on a Broken Loom is vigorous and physical, propelled forward by interlocking echoing phrases and syncopated accents. A disembodied melody is heard underneath quick swells in a contrasting middle section before the work turns towards a churning chorale, organum woven from strands pulled from the strings of the quartet. The vigor of the opening returns for a rousing conclusion, a garment that has taken its final form.

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