Giovanni Bottesini
Three string quartets (Dynamic)

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L. Boccherini
6 Quintetti Op.56 (Piero Barbareschi, pianoforte) (Agorà/MusikStraße)

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Mozart’s transcriptions from Bach’s The Well-tempered Clavier, The Organ Sonatas, The Art of Fugue (Antes Concerto)

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L. Brouwer / Beatles
Collection 2 folk songs (Frame)

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エリーザ弦楽四重奏団
オール　イタリアン　プログラム

ヴェルディ：弦楽四重奏曲　ホ短調
第３楽章　プレスティッシモ
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• - ボッケリーニ：弦楽四重奏曲　ニ長調　Op6-1(G.165)
• - ヴェルディ：弦楽四重奏曲　ホ短調
• - プッチーニ：弦楽四重奏のための「菊」
• - レスピーギ：ソプラノと弦楽四重奏のための「夕暮れ」(佐々木　典子)
• (アンコール)
• - 多　忠亮：「宵待草」(佐々木　典子)
• - モーツァルト：ディヴェルティメント　ヘ長調　K． 137

Pietro Grossi
Bit Art (Atopos)
live recording

Composition no.12 (extract)
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ClassicalNet
Pietro Grossi (1917-2002) is an Italian composer with the (sounds of) strings in his blood. Trained as a cellist and composer, he had a successful and distinguished solo performing career, was a respected and prominent teacher and innovator with electronic music and the celebration of modern music through festivals, orchestral projects and research. The present CD from the groundbreaking and ever-enterprising Italian Atopos label contains seven examples of his earlier instrumental music with the last item only, Create C, from 1972, for synthesized resources.
[...] this CD shows ways in which not only the string quartet (the Quartetto Elisa appears in three of the works here), but also the three double basses of Marco Martelli, Marco Mazzinghi and Stella Sorgente and music for voice and piano (Donatella Debolini and Giancarlo Cardini respectively) as well as Andrea Nannoni's cello all answer questions about these relationships between time and tone. [...]
Most of the pieces are relatively short. There is an economy, a concentration on what it is to experience the sounds which the instruments make, that is very striking to the listener. Composizione No 6 [tr.7], for example, from 1960, has its focus on the very nature of slow, deliberate string sound where intervals and even harmony are at times all but incidental... listen, too, to the measured and tight study from 'Tre Pezzi' (1960) [tr.8]. Grossi's delight in the mechanics of horsehair on gut (etc) is evident. Not, though, that this is dry or pointlessly casual exploration. There is structure in the way that Berg, rather than Webern, knew structure. The same applies in the case of the one vocal work here, Composizione No 11 (1961). The voice uses word-free vocalizations to suggest the quiet power of vowels and vowel sounds. [...] (Marc Sealey)