Enluminures Akhtamar Quartet

• Claude Debussy (1862 - 1918): Quatuor à cordes en sol mineur, Op. 10, L. 85:
• 1 Debussy: Quatuor à cordes en sol mineur, Op. 10, L. 85: I. Animé et très décidé 06:27
• 2 Debussy: Quatuor à cordes en sol mineur, Op. 10, L. 85: II. Assez vif et bien rythmé 03:51
• 3 Debussy: Quatuor à cordes en sol mineur, Op. 10, L. 85: III. Andantino, doucement expressif 07:00
• 4 Debussy: Quatuor à cordes en sol mineur, Op. 10, L. 85: IV. Très modéré - Très mouvementé 07:06
• Judith Adler de Oliveira: Enluminures:
• 5 Oliveira: Enluminures: Dle Yaman 02:58
• 6 Oliveira: Enluminures: Eri Eri Jan 01:47
• 7 Oliveira: Enluminures: Al Aylughs 02:54
• 8 Oliveira: Enluminures: Grounk 03:29
• 9 Oliveira: Enluminures: Gakavik 01:56
• 10 Oliveira: Enluminures: Yel, Yel 03:17
• Total Runtime 40:45

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Debussy’s string quartet op. 10 was considered perturbing at the time on the Parisian music scene and has since become an absolute staple of quartet repertoire. It sweeps us along the most unexpected harmonic pathways and takes inspiration from sound-worlds as diverse as jazz, gamelan ensembles and Spanish folk music. Rich in colour and exotic tonalities, this poetic masterpiece frees itself from traditional Western customs and stands as a unique bridge between different cultures. It was the famous Belgian violinist Eugène Ysaye’s string quartet who commissioned the work. They later defended it from the many accusations of “too modern”. With Opus 10’s ties to Belgium, France and Armenia, The Akhtamar quartet immediately related to it and placed the piece at the heart of their repertoire. The Akhtamar quartet chose its name in reference to both the ancient Armenian myth and the Komitas Miniatures arranged by Aslamazyan, which they have played with passion since their formation.

In all areas of art, ancient works are visited by contemporary artists and adapted or transformed to speak to today’s world. Judith Adler de Oliviera has taken secular, Armenian themes and expressed them through music in a variety of ways. At times, she “narrates” these themes in a direct manner and at others, we have a faint sense of the original material as her innovative approach draws us away from tradition. As some of the same themes figure in the Miniatures by Komitas/Aslmazyan, a pathway is created between Oliviera’s work and the music which lies at the heart of Akhtamar’s repertoire.

Akhtamar Quartet

Akhtamar
an Armenian legend. The name of the quartet is based on the armenian pieces by Komitas/Aslamazyan, that the ensemble plays regularly since its foundation, and which became its signature.

The Akhtamar Quartet regularly performs in Belgium and in France, but also in Germany, Switzerland… The string quartet plays in well-known festivals such as Radio France in Montpellier, the festival van Vlaanderen, Voix Intimes, Quatuor à l’Ouest, Midis-Minimes, Musicancy, festival du Vigan, the Festival of MonteLeón…

Several composers have already asked the Akhtamar String Quartet to record and perform their works (Roger Boutry, Eugénie Alecian, Jan Kuijken…). In 2016, their first performance of un quatuor arménien written by Eugénie Alecian and dedicated to the Quartet, was the beginning of an international tour (France-salle Cortot, Germany, Armenia, Switzerland…).

The quartet is also committed to social projects. As a example, the quartet played several times in psychiatric institutes in Paris. They also regularly play in schools in Brussels. Since 2017, they perform their musical tale for primary schools and a show for 12 to 18 years old, as part as the Jeunesses Musicales Tours. The ensemble also works with the Papier Plum’ Company.

The Akhtamar Quartet was founded at the Conservatoire Royal de Bruxelles. The Quartet was tutored by Guy Danel and the Debussy String Quartet during its studies. It is also in a string quartet post-graduate at the Joseph Haydn Institut in Vienna University of Music, in the class of Johannes Meissl and Vida Vujic. The ensemble is also part of ProQuartet‘s and the ECMA (European Chamber Music Academy) training institutions, in which they have been taught by the Alban Berg Quartet, Natalia Prishepenko and Eberhard Feltz.

In 2014, the Akhtamar Quartet won the the Horlait-Dapsens Prize in Brussels, and in 2016, they were one of the six selected string quartets for musical springboard of the Philharmonie in Paris, and for the Supernova selection in Flanders. In July 2016, they recieved the second prize given by the belgian radio Musiq’3. The ensemble was invited on “France Culture” radio in 2017 and “France Musique” in 2018.

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