Stylishly packaged, intelligently programmed, superbly recorded and brilliantly performed. In short, very much the sort of disc we've come to expect from the talented and imaginative Kronos Quartet. With an overall theme of war and persecution linking the works, the disc opens with George Crumb's Black Angels for electric string quartet; a vividly descriptive work inspired by the Vietnam war. It dates from 1970 (it was completed somewhat ominously on Friday, March 13th) and is described by Crumb as ''a kind of parable on our troubled contemporary world''. Those familiar with Crumb's works will be aware of his fondness for asking his performers to double on other instruments, and here a gamut of sounds ranging from gongs, maracas and crystal glasses, to vocal sounds such as chanting, whistling and whispering combine with Crumb's colourful, imaginative string writing.
At first glance Tallis's 40-part motet Spem in alium may seem a little out of place, particularly on a disc of string quartet music inspired by war. But as the accompanying note rightly points out it's probable that the original Latin text was taken from the story of Judith, in which Nebuchadnezzar's general, Holofernes, was besieging the Jewish fortress of Bethulia. Kronos's own arrangement (involving some multi-tracking) certainly makes a fascinating alternative to the original, with Kronos sounding remarkably like a Renaissance consort of viols.
An atmospheric blend of electronic sounds, string quartet and recorded folk-songs (collected by the composer during a visit to Trunk, Romania) can be heard in Istvan Marta's powerfully disturbing hommage to a small village community as they desperately fight to retain their sense of identity and heritage in the face of dictatorship and persecution. Not a piece I would find myself returning to often, but an impressive and moving work none the less. Something of a curiosity follows: Charles Ives recorded his song They are there! over 50 years ago (full marks for conviction Mr Ives, but zero for vocal technique!), but by the miracle of modern technology is partnered here by Kronos courtesy of an accompaniment part arranged by John Geist.
An intense, poignant account of Shostakovich's Eighth String Quartet (a work dedicated to the victims of Fascism and war) brings this unusual and thought-provoking recital to a fitting conclusion. I've avoided bringing into play any comparisons with this performance as it strikes me that the interest and value lies primarily in the recital nature of the disc, though let me say that this performance can more than hold its own in the stiffest of competition.'