Joyce Quartet

"Souffle partagé - Ce n’est plus un accord mais, par l’impalpabilité, l’immatérialité de la sonorité, un souffle partagé ... Magique, la conclusion de l’ouvrage  (1905, Webern) sous les quatre archets en dit long sur le degré d'entente et d’homogénéité auquel ils parviennent.... intensité et relief magnifiques....  La science des sons et le cœur forment la plus harmonieuse alliance.  Quel talent : suivez les Joyce de près !"  Alain Cochard, Concertclassic, 2021

 "Implication sans faille, entretenant et réinventant la ferveur musicale jusqu’à son terme. Nul doute que la formation, qui voue une admiration au poète et romancier éponyme, s’apprête à écrire une aventure musicale prometteuse" Julien Bordas, Classicagenda, 2020

Propos                                                                  What's in a name?

James Joyce incarne l’art de la nuance. Le texte fait des vagues devant nos yeux, maître qu’il est des couleurs du temps

Art de la nuance, de la nuance cachée, non pour son propre achèvement, mais pour servir le sens. Nuance, nectar de la fleur écrite. Littérature où l’on ressent la floraison multiple et humainement impossible d’une fugue de Bach. Joyce, c’est le goût du pair, de la correspondance, de la confidence. Joyce, c’est aussi la passion de l’impair, de l’étrange, du flottant, du singulier. Deux axes partagés par aucun art aussi profondément que  par la musique.


Les romans de Joyce se distinguent par une fidélité à l’absence de centre, à la recherche d’un principe à la fois équilibré et mouvant, principe qu’on retrouve également adossé à l’aspiration d’un quatuor.  L’œuvre musicale se déploie lors du concert, sur un temps terriblement restreint compte tenu de son contenu,  précipité des centaines heures passées et à passer, pour l'apprivoiser avec nos oreilles, notre cœur, nos mains. On retrouve  cette équation dans "Ulysse" de James Joyce qui décrit le contenu poétique, antipoétique, quotidien, apparent et invisible, d’une seule journée, ou bien dans sa dernière oeuvre aboutie après 17 ans de travail : "Finnegans Wake" (nommée d'abord "Travail en cours”/work in progress) qui relaterait une unique nuit. 


Joyce décrit toujours des expériences à la limite de l’inconsistant arrachées à des moments, à des alignements, des éclairs (des épiphanies, dit-il). Il entretient par là même un rapport au temps unique puisqu’il donne sa consistance à des moments-de-presque-rien qui mourraient sans l’appel de la mémoire, de la trace, du soin.  Notre quatuor est soudé par une dévotion à cette valeur-là … 

Since one has to explain, ex-plain, explicitize, and explore : Joyce was the first, and for a time, the only where one feels such art of the nuance, or the shade, whether through one’s  nose, one’s reading, and seeing eyes. Obviously, such revelations cannot be a daily occupation : one may have their fair load of numb days where one feels almost ridiculed by the words of which the meaning might evade our attention, shamed by the waves the text seems to imprint in, and on you, maestro di color che sanno. Craft of the shade, but more precisely of the hidden shade : not shade for shade’s sake, but rather to serve the meaning, to invokethrough via the doubt of and quest for the word, the not-quite-certain humanity of its message. The detail is to the text whatthe nectar is to the flower. The first literature where can be found the humanely unreachable flow of a Bach fugue, or some of our own lunar modern artistic expressions. Joyce has quite a taste for the two poles of music, and string quartet : the odd and the even. The oddity of a lone work of art (because all seem to belone), of an unforefelt emotion ; and the evenness of reason, of construction, the imcompressible necessity of dialogue, of sharing, uncentered as the world may be. A string quartet bears this conundrum too : its principle of that of a moving equilibrium. One needs a voice, a guide, to be in contact with Joyce, one needs references, a whisperer, someone to give you hintsand quips and wits and limericks : and that is already our role as performers. Furthermore : we as musicians and as listeners spend – let’s be frank – way too much time lingering on manyworks of music, losing hours, years, on say, a seven-minute Schubertian parenthesis which he probably wrote down in thiry minutes, begging ourselves to make an abiding yet active recollection of it until our dying breath : this distorsion is very much at the core of Joyce’s vision of literature : it turns the trite and tripe, the private plight and blatant blight into a feast of life, extending a day in Dublin into something that might be enjoyable everyday everywhere, through a transfiguration of life through life, spiritual and lived, titbits by titbits made, words by words made, sounds by sounds made. 

News

 
February 23 - 7 pm - online event
Salle Cortot
Anton Webern, Quatuor (1905)
Leos Janacek, Quatuor N°1 "Kreutzer Sonata"
Johannes Brahms, quartet n°1 op.51 in c minor

February 24 - Ivan Wyschnegradsky concert - postponed
La Marbrerie de Montreuil
with Martine Joste, piano
   
March 21 - Poet Laval - postponed
ClassicArpa Festival
   
March 21 - 28 - Noirlac residence with the Diotima Quartet 

postponed to August 2021
   
March 21-27 - Les Marêts residence
Recording of Mozart K.590 quartet


June 18 - Théâtre du Voyageur - Asnières
"Unfinished works"

Franz Schubert, D 703 quartettsatz
Leo Marillier, quartet (premiere)
Franz Schubert, quartet D 103 in c minor
Joseph Haydn, quartet n°83 in d minor
Bela Bartok, Third quartet (1927)

 
Inventio Festival
June 26 - Chapelle des Marêts
Concert-exhibition paintings by Jean-Pierre Corne 

Franz Schubert, D 703 quartettsatz
 Leo Marillier, quartet
 Franz Schubert, quartet D 103 in c minor
 Joseph Haydn, quartet n°83 in d minor
 Bela Bartok, Third quartet (1927) 

 

June 28 - Compiègne - cancelled
Joseph Haydn, Quartet op.33 n2 in e flat major "Joke" 
Franz Schubert, quartet in c minor D.103 (unfinished) 
L.v. Beethoven, Quartet n.16 op 135 

July 5 -  Fontainebleau Schools of Music and Fine Arts 

100th Anniversary Concert 

Tangos with  Martha Argerich & friends  (trio Zarathustra, Bartu) 

   

July 11-15 - Proquartet residence - Abbbaye de Royaumont

Claire Thirion masterclass

July 17 - Theatre Nogent-sur-Seine
Recording

July 16-18 -  Fontainebleau Schools of Music and Fine Arts 

100th Anniversary Concert - cancelled

 

August 13 - Preludia Festival - Louchy-Montfand church 
Program to be defined


August 22-28- Proquartet residence
Roussillon, ôkhra, Conservatoire des ocres et couleurs
John Myerscough masterclass

September 4 - Beauchery church - Ivan Wyschnegradsky strings integrale concert

in the presence of the grand-daughter of the composer
Presentation by Martine Joste 

String quartet n.1 op.13 (1923-24, rev. 1953-54)
String quartet n.2 op.18 (1930-31)  
String quartet n.3 in semi-tones op.38bis (1945, rev. 1958-59)  
Composition for string quartet op.43 (1960, rev. 1966-70) 
String trio, op.53 (1978-79, completed by Claude Ballif en 1980) 


September (date to be defined) - Auditorium Bernanos Paris
Wyschnegradsky concert

November 9 - Scene Nationale d'Orléans
Program to be defined
Schumann: Quartet op.41 n.3 in A major

About us

The Joyce Quartet unites four young musicians who graduated from the highest distinction of the Paris Conservatory, the Artist Diploma, where they met, specializing in 20th and 21th century performance and creation. Before our gathering together, we had all played with each other in duo, and trio, and ensemble in festivals such as Présences, Toroella de Montgri, Villecroze, Inventio, making our quartet a natural evolution. We’re all recipients of funds such as the Mécénat Musical Société Générale or the Fondation de France.

The Joyce Quartet was deemed remarkable at even its first outings : « the involvement, the tone they use for this music brings immediate approval… the 16th quartet by Beethoven is no testamentary afterthought, according to the Joyce, in this final work of his – it is a rather bafflingly abrupt work, after the experimental feast of the preceding works. The flow and accompliceship with which these musicians its blend of lightness and gravitas stress the intelligence, the balance and the human collusion of their discourse (with a marvelous Assai lento, played with a rare intensity) » (Alain Cochard) « Whether in the sublime, ornamented Adagio, the bold Scherzo, or the feverish last Presto – where impressive « shivers » come and go like an entrancing motto – the quintet – Joyce and Claire Merlet – gives a remarkably « lived in » reading of [the Beethoven quintet]… showing a faultless involvement, keeping alive and reinventing its musical fervor until the end » (Classicagenda). 

Supported by ProQuartet, the Joyce quartet will receive classes in Royaumont and Villefavard from John Myerscough and Valentin Erben, as well as in Noirlac, with the Diotima Quartet. We are performing Webern, Janacek, and Brahms in Salle Cortot in 2021 , Wyschnegradsky at the Marbrerie de Montreuil, Schumann and a premiere in Orléans, Schubert, Bartok, and Haydn in Provins.
 
Email : joycequartet@gmail.com 
Phone : +336 32 51 83 00 

Media

In quintett with the altist Claire Merlet

Replay Canap'plus - concert Fest'inventio 2020
5 septembre 2020 Galleria Continua Les Moulins
A l'ombre de "Cave" d'Anish Kapoor
Beethoven, Quintette op. 29 en do majeur 
Brahms, Quintette n°2 op. 111 en sol majeur 

Recording Schoenberg and Beethoven

Chapelle expiatoire concert : 11 septembre 2020
Recording in the Chapelle des Marêts with score and urtext

Arnold Schönberg, Quatuor à cordes N.3 op.30 (1927) 
Ludwig van Beethoven, Quatuor à cordes en fa majeur op.135 (1826)