The Piatti Quartet on the string quartets of Joseph Phibbs

Despite the vastly expanded palettes available to contemporary composers, the string quartet continues to exert a pull - perhaps because of the constraints it imposes, while also encouraging the reimagining of a time-honoured form.

Among the foremost explorers of the highways and byways of the string quartet repertoire are the Piatti Quartet, whose recording of works by Ina Boyle, Vaughan Williams, Moeran and Ireland was one of our Recordings of the Year last year (as well as the collection Bracing Change 2 from NMC, on which they shared the billing with the Quatuor Bozzini and Heath Quartet, coming in as a finalist). 

They now turn their attention to Joseph Phibbs, with whom they have a longstanding and close musical relationship - having commissioned two of his four quartets themselves. The quartet's members share their thoughts on Phibbs's music in the wake of their recording of his quartets Nos. 2-4, released in November.

For listeners who might not know what to expect from this album - in a few words, what should they listen out for?

They should go somewhere quiet and sit back and close their eyes. At its heart, Phibbs' music is really beautiful and life affirming. It’s transportive music and has its own unique timbre, full of contrasts.

Can you tell us a bit about Richard Thomas and his Foundation, and the role they played in this album coming to be?

This project would have been unthinkable without the support of Richard Thomas and his Foundation. Richard, together with RTF supporter Sam Berwick, have been truly wonderful in their unwavering belief in Phibbs’ music and our ability to interpret these quartets through this recording. They came to several recording days, one in a freezing church in December where they were colder than us, as we at least got to play some fast notes!

How did your own association with Joe (clearly very mutually fruitful!) first take shape?

It all started back when Jessie played his ’Sonatine’ for cello and piano back in 2011. We then decided to commission his first quartet and premiered it in 2014. We received the score while on a residency in Aldeburgh, which now seems very fitting given Britten’s influence over Phibbs’ string writing. Initially we were a little bemused as at first glance it looked so simple on the page. It has since been our most performed contemporary work, every time it reveals new layers and in each performance the music feels fresh and exciting.

A decade separates those first and fourth quartets - both commissioned by your quartet. From your perspective as players, how do you find the writing has changed over that time?

Phibbs’ writing has naturally matured from his SQ No.1. Quartets 2 and 3 feel like an instinctive progression from that first quartet but Joe wanted to do something different with Quartet No.4. It has 5 short, very contrasting movements which are all fascinating ideas. He could go off on many tangents from any one of those inspired sound worlds.

Joe mentions a formative early encounter with Britten’s first quartet - what other influences do you detect when playing his music?

There’s certainly some Ravel. Jazz in general, Bartók, Stucky, Ligeti, and others come together and yet at the end of all these influences, it’s still very much uniquely ‘Phibbs.’ In a way it has classical influences too as the textures are so clear with dialogue between instruments as crisp as Haydn.

The string quartet as a format has been with us since the mid-eighteenth century. What do you think the genre has to say today, as part of the hugely expanded landscape of contemporary music?

That communication  and spontaneity that comes from watching and listening to a string quartet live on stage is still one of music’s most intimate as well as dramatic and compelling experiences, whether through old or new works. 

There’s no shortage of new string quartets being written and in our experience you have to work at a new composition with the same commitment and enthusiasm as a mainstream masterpiece otherwise the performance won’t be as convincing as it could be. We believe strongly in promoting contemporary repertoire and keeping the genre alive so in every concert we do try and programme something written recently, however short. Providing a spoken narrative to audiences prior to performing it makes them enjoy it so much more too. We have to give listeners every chance to want to hear more contemporary music at the next concert!