Martin Funda, leader of the Arminda Quartet, states, “Opus 59 is extremely challenging. One needs time to grasp these pieces. As performers, we are surprised again and again to note how quickly Beethoven starts leading us into unfamiliar waters. The F Major Quartet is an ‘extrovert’ piece; at the same time; it contains a series of incredibly profound moments and a variety of different moods which we have to learn to interpret.” In comparison, Shostakovich’s Opus 118, also featured on this recording, is surprisingly carefree at first glance. He wrote this work at his retreat center in the Armenian spa town of Dilijan, and the relaxed atmosphere can be heard in the writing. Armida Quartet was founded in Berlin in 2006, and took their name from an opera by Haydn who was the “father of the string quartet.” Since their inception, the group has won numerous awards, most notably First Prize, Audience Prize, and six other awards at the ARD International Competition in 2012.

With the recordings on this album, the Armida Quartet has reached the halfway mark in a project that seeks to intimately explore an entire mountain range: Mozart’s complete works for string quartet, to which they devote intense scrutiny within the framework of a recital series that pairs them with contemporary works specifically commissioned for the occasion. This requires our musicians to pay a particularly attentive ear: history remains unscathed, but the members of the Armida Quartet want to call ingrained listening habits into question. By implication, they explore Mozart’s works as if the composer was looking over their shoulder. In collaboration with Henle music publishers and musicologist Wolf-Dieter Seiffert, they have embarked on a “workshop exploration” of Mozart’s string quartets in the original manuscript. The occasional discovery of certain hitherto overlooked details leads them to interpret certain passages in exciting new ways. All the while, they gain increasing familiarity and assurance as they delve ever more deeply into the master’s musical language. The sources also confirm something that Mozart alluded to in his dedication of the six “Haydn” Quartets to his revered colleague: the fact that the work of composing can be painstaking, at times laborious.

Premiered in 1919 in Zurich by the leaders of string sections of the Tonhalle Orchestra with Frank Martin himself at the piano, it displays a wide variety of influences, all forming part of a 29-year-old musician’s search for his own artistic voice. At the same time, the Quintet’s style is thoroughly individual, notably in its choice of rich harmonies. Providing a marked contrast to Frank Martin’s filigree, pared-down early style, César Franck’s profuse, monumental Piano Quintet in F Minor (1879) is typical of the Franco-Belgian composer’s late output. All of Franck’s characteristics seem to blend together in this work which he wrote at the age of 57: Wagnerian chromatic harmonies, dramatic developments similar to those we know from his symphonic poems and oratorios, and a polyphonic musical thinking “in organ registers”

All Mozart String Quartets complete. The Armida Quartett is seen today as one of the best quartets coping with the giant W.A. Mozart. Rave reviews from Gramophone and BBC Music Magazine. The Box has been recorded and released in close cooperation with the famous Henle publisher.