"Los cuartetos de Bartók son sin duda uno de los puntos culminantes de toda la música del siglo XX. Su escucha invita a realizar un viaje alucinante por todo el período que comprende las dos guerras mundiales, donde la muerte, destrucción, dolor, lucha por sobrevivir y al final esperanza por renacer a un nuevo mundo, están descarnadamente presentes. El compromiso sin fisuras y el coraje con el que abordan sus interpretaciones, permite al Cuarteto Diotima afrontar grandes retos como el que le ha propuesto el Festival Clásica x Contemporáneos: presentar en dos sesiones, durante una misma semana, una de las integrales más complicadas, tanto a nivel técnico como emocional, de todo el repertorio de la música de cámara." Rebeca Largo

Hemos podido contactar con el Cuarteto Diotima para una pequeña entrevista, uno  de sus miembros: Pierre Morlet, el violonchelista del grupo, nos ha comentado algunas cosas. Espero que disfrutéis con sus reflexiones.

 

"It is definitely a chance and a big challenge! The full cycle of Bela Bartok is one of the most difficult cycle ever written but on the other hand also the most incredible music ever written since the late quartet of Beethoven." Pierre Morlet

1. Ruth Prieto: Let's talk about Clásica x Contemporáneos 2014 Festival. What does it mean to you to play the full set of Béla Bartók quartets?

Pierre Morlet: It is definitely a chance and a big challenge! The full cycle of Bela Bartok is one of the most difficult cycle ever written but on the other hand also the most incredible music ever written since the late quartet of Beethoven.

For us and apart of contemporary music, we wanted to explore the beautiful pages of the first half of the 20th century (Ravel, Debussy, Fauré, the second viennese School, or Janacek).We already explored all of these quartets and then wanted to complete our knowledge with this full set of quartet by Bartok.

2. Ruth Prieto: You have a reputation for innovation and being at the vanguard. How is present-day contemporary music doing in terms of being at the vanguard and innovation?

Pierre Morlet: You can always find different type of contemporary music. Each composer get his own language, more or less innovative but always different from one to an other. Trying to find the most adventurous composers is not a goal for us. We just try to play the different voices, the most original. It is much more matter of taste than being the vanguard.

3. Ruth Prieto: Is it difficult to find space for "vanguardist" projects in these times of crisis?

Pierre Morlet: Of course it is difficult to be at the vanguard. But it was probably the same 50 years ago. Each period of time got his own problems, with a lack of taste for the innovation or the adventurous projects.
 

"We just need to fight against this and try to persuade people that new music will become the past of the future"

4.Ruth Prieto:  How do you see the present-day, contemporary music scene?

Pierre Morlet: Fragile but also full of life if you are looking at the number of good composers. For example , If you get a close look at the music scene in Spain, some names recently became famous outside Spain like Alberto Posadas, Mauricio Sotelo, Elena Mendoza or Ramon Lazkano. They are all very different but they represent the future of your music.