The pairing of Béla Bartók's String Quartet No. 5 (1934) with Paul Hindemith's String Quartet No. 4, Op. 22 (1921), is a clever idea that one might expect of the Zehetmair Quartet, an intellectually curious ensemble that enjoys programming works to find interesting similarities between them. Both Bartók's Fifth and Hindemith's Fourth have points in common, chiefly that each has five movements, planned on an "arch" structure, with the middle movement as the keystone; each is a masterful study of the string quartet's textures ...
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The pairing of Béla Bartók's String Quartet No. 5 (1934) with Paul Hindemith's String Quartet No. 4, Op. 22 (1921), is a clever idea that one might expect of the Zehetmair Quartet, an intellectually curious ensemble that enjoys programming works to find interesting similarities between them. Both Bartók's Fifth and Hindemith's Fourth have points in common, chiefly that each has five movements, planned on an "arch" structure, with the middle movement as the keystone; each is a masterful study of the string quartet's textures, from the densest counterpoint to the most starkly isolated figurations; and each has strongly rhythmic movements, in which martellato (or hammered) bowing in unison is a memorable feature. These performances are meant to make listeners notice such parallels, and the Zehetmair Quartet demonstrates that there was a commonality between Bartók's and Hindemith's quartets; perhaps something in the air made both men achieve strikingly similar results, even though the dates of composition...
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