In the first movement of the magisterial op.130, the musicians are driven by the same conviction that produces a small miracle in passing: as in Javanese gamelan music, the collective rallentandos and accelerandos are achieved with total unanimity, because they tense or relax around an invisible thread – the pulse that organises everything, that guides and at the same time authorises genuine freedom, because it is founded not on more or less subjective, personal perceptions, but on a sense of inner necessity, on the humility of submitting to a compelling momentum that the music itself imposes. The music, not our taste, our perspective, our misfortunes great or small. It is through this refusal of outdated mawkishness that, paradoxically, the musicians succeed in truly touching us, in sharing with us the breadth of this compositional gesture, the real novelty wrested from the resistant rock of earlier banalities. They do not overplay what should not be overplayed, but they give meaning to repeated elements, for example by introducing a different hierarchy into the relative weight of accents. This makes it possible to glimpse long phrases, to consider repetitions not as idle padding, but as wide-spanned arcs that construct the form. 43 QUATUOR YSAŸE
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