The composer of Julietta left seven string quartets that do not, by any means, form a cycle but rather a succession of testimonies stretching from 1920 to 1947. Here are juxtaposed a ‘modern canvas painted’ in 1925 (Quartet No.2), a neo-Baroque divertimento (Quartet No.4) from the spring of 1937, and finally, the unexpected masterpiece, intimate and violent (No.5, 1938), the da camera counterpart of the Double Concerto for Two String Orchestras, Piano and Timpani that Martinů had just finished for Paul Sacher.
PRD/DSD 250 205