The Kreutzer Sonata

The relationship of music composers to string quartets has often been intimate, without a doubt due to the obligation to say the essential and invite inward thinking.

This is entirely true concerning this program’s composers. Janacek entrusts us with his loving passions through his quartets, giving those music sheets true mini operas. Restrained by Stalin’s regime, Chostakovitch hid his most audacious musical discoveries in his quartets. He entrusts music with his terror behind the barbarism that surrounded him.

Stravinsky concocted an explosive music that, if not foreign to us, seemed nevertheless to evoke the choral society of a faraway land with breath-taking customs. Lastly Schnittke, from natural torment, left numerous times between life and death due to cerebral attacks, responds to the fragility of existence with urgent and powerful music.

They also have a certain science of collage and quotation in common: ancient and modern music struggling against a modern and biting language, traditional Jewish music, and melodies of spoken language.

As such, these composers are not concerned about being “modern” or “avant-garde”. They haven’t refused the musical heritage of centuries past. On the contrary, they know how to use this in favour of irresistible and poignant dramatic arts.


Igor STRAVINSKY, Concertino (1920) 6’
Alfred SCHNITTKE, Quartet No. 2 (1980) 22’
Dmitri CHOSTAKOVITCH, Quartet No. 7 in F minor opus 108 (1960) 12’
Leos JANACEK, Quartet N°1 “The Kreutzer Sonata” (1923) 19’

“Bela Quartet fascinates the listener with a modern Russian and Czech program. It is a flawless performance with great depth in the interpretation that flows from the attachment of the musicians to the defence of 20th century repertoire.”
Victoria Okada, Resmusica.

“…panache, technical transcendence, the power and agility of wild beasts…”
Jacques Duffourg, Appogiature

QBela_Peinture_Sonate à Kreutzer_René François Xavier Prinet