On March 9th, a concert of new experimental music by the Quatuor Bozzini was held at the Chapelle Scène Contemporaine as part of the Semaine du Neuf. The program included music by living composers and highlighted the sound that made this ensemble recognizable in the international experimental music scene.
The concert opened with Companioning (2026) by Fulya Uçanok, a 2026 piece written for the ensemble that focuses on the ability to listen and interact during the performance between the members. A suspended, to a certain extent non-terrestrial atmosphere accompanied the audience throughout the performance of the piece, which exploits the sound of the instruments in a delicate balance between individual possibility and collective cohesion. The program then included two pieces written between 2014 and 2016 by Cenk Ergün, with whom the quartet has recently collaborated.
The first one, Celare, begins sul tasto for all four musicians, creating an almost hidden preparation (celare in Italian means precisely “to hide”) to what follows. Which was in the name of virtuosity of sound and dialogue, the main feature of the Bozzini Quartet. The second and last work, Sonare, was the one that differed most from the previous ones. There was something wild and brutal in this work: as much as the previous ones were expressed by subtraction, of sound and individuality, as much as this one manifested itself by the addition of sound material by each member of the quartet. A fascinating journey into the unexplored possibilities of sound for strings, warmly applauded by the audience.
