MOZART String Quartets Vol. IV

CD 1

  • String Quartet No. 4 in C Major, K 157
  • String Quartet No. 6 in B flat Major, K 159
  • String Quartet No. 7 in E flat Major, K. 160
  • String Quartet No. 19 in C Major, K. 465 Dissonance



CAvi 42 6008553205 6

Booklet 16 pp, G | E; Bio; Liner Notes G | E

Available as of October 20, 2021

Release date (G/S/A): November 12, 2021

Details please see under;


Distribution: France (DistrArt); Japan (Tokyo M-Plus Co., Ltd.); Harmonia mundi (Germany, Austria); New Arts International (Benelux/UK/Scandinavia/Italy/ Spain/Poland/Czech Republic/ Taiwan/South East Asia/South Korea/Switzerland /USA: NAXOS)





…..The Armida Quartet endeavors to find dissonances lying like sleeping metaphors on the seabed of

Mozart’s music, in order to bring them to the surface and back to life – yet without making them too

obvious. In so doing, the musicians commit themselves to follow the original sources, which they are

intensely studying in collaboration with expert musicological counsel. But they are also committed to

their chosen name, “Armida”, which evokes a widespread opera subject stemming from Torquato

Tasso’s epic poem Gerusalemme liberata (“Jerusalem Delivered”). In that well-known story, Armida

stands for what we would call cognitive dissonance. The Christian knight from the West and the pagan

beauty from the East are fascinated with one another and fall in love. Despite her infatuation, however,

Armida must surely also be an evil sorceress, since she is distracting Rinaldo, the crusader, from his

holy mission of war. Armida’s final submission is sealed once and for all with a battle victory and a

baptism: this is obviously a Western projection we need to view with a greater deal of nuance. With its

apparently irresolvable dissonance arising from contradictory feelings, the fear caused by the seductive

outer appearance of beauty, and the ostensibly unappealable validity of cultural norms, the fictional

Armida material is a true aesthetic and cultural litmus test…… ….. (Excerpt from the booklet notes by

Hansjörg Ewert)


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