April 2001 Looking Four-wards by Irvine Arditti     Irvine Arditti’s thoughts on new music for string quartet are revealed in correspondence with Arditti Quartet manager and spnm council member Julia Haferkorn: I asked Stockhausen at least four times if he would write us a string quartet. His reply each time was negative: "‘String Quartets’, ‘Symphonies’, ‘Concertos’ – I cannot write such things, I have never written such a thing." I guess it was the classical concept of a string quartet that worried Karlheinz, not in fact the idea of writing for string quartet, as, after he had a dream about helicopters flying in formation, ‘Helikopter’ quartet was born. The string quartet is a medium that has been around for several hundred years, and the burden of history may have left some nowadays to fear this most perfect of mediums. It is those who learn not to fear the past and are able to channel their imagination into the present who will be able to write successful string quartets. Stockhausen in fact did precisely this, creating a work and concept totally new, as one might expect from him. The world of the Arditti Quartet is something quite different from that of a classical quartet. We are constantly adding to our repertoire with each new season bringing a fresh crop of new scores. It is accepted that these new scores will have varying degrees of success, some making it into our regular repertoire and some after their initial exposure, ‘visited’ from time to time. In general we try to be as broad-minded as possible, but it is true that the more challenging and genuinely original the work is, regardless of style, the more it is likely to appeal. Composers sometimes ask what sort of work we want but apart from realistic duration limitations. I am reluctant to give further information. There should be virtually no restrictions, and composers should be free to follow their imagination to the full. The potential for string quartet writing is unlimited. There is often a great feeling of excitement and expectation with new scores arriving through the post; usually long awaited, but often unpredicted as to its content of challenges. An example of this was the new piano quintet from Tom Adès with its ever changing tempi and differing meters within the ensemble. The première will be at the Melbourne festival in Australia this year, with the first chance to hear it in England at next year's Aldeburgh festival. Other highlights this autumn include scores by Magnus Lindberg and Helmut Lachenmann. Both are planned for UK première at the South Bank. Someone asked me a few years ago at a 'State of the Nation' weekend what the chances were for the Arditti Quartet to play a young composer's piece. I replied "very slim". I am pleased to say that with the now renewed interest from the South Bank, both in concert programming and workshop possibilities, we are able to have more contact with young composers living in the UK. Our first venture in this field in the UK was actually at the 1999 Huddersfield Festival where (spnm shortlisted composer) Paul Usher was selected for performance, after a workshop with the top three choices. Following this, I asked Paul for a new piece, which was commissioned by the Ingolstadt Festival in Germany, where it will be premiered this summer. The Quartet has been involved in master classes and workshops all over the world and I consider this to me of prime importance in our list of activities. It is essential that young composers have the chance to work with us and try out their new ideas in order that they can not only hear what they wrote but find out what we can really do. Irvine Arditti is founder and leader of the Arditti Quartet. In conjunction with spnm and the South Bank Centre, the quartet give a workshop for composers at State of the Nation, and on 19 April they give a concert in the QEH – see listings section for details. What do you think? We would welcome any responses to the articles featured in new notes. Click here to read what other people have thought about recent cover articles. The monthly listings magazine new notes is essential reading for composers, performers, and everyone interested in what's new in new music. In its printed version new notes reaches over 5,000 contemporary music enthusiasts in the UK and around the world. If you promote new music events you should advertise them in new notes. Single concert listings are just £50+VAT. The magazine also features ads for festivals, composer competitions, recordings and more. new notes also features monthly articles on issues at the forefront of new music special offers on CDs, tickets, scores and books for spnm members information about forthcoming spnm events a free classified section for spnm members' non-trade ads. For full details on advertising or inserting leaflets in new notes please contact the Editor: John Fosbrook e-mail telephone fax

Event listings for this month   Previous articles: March 2001 Chamber Made February 2001 Publishing, Promotion and Profitability January 2001 From the World to the Warehouse December 2000 What price new music? November 2000 Composing for dance from start to finish October 2000 John Lambert remembered July 2000 Joanna MacGregor June 2000 Announcing the shortlist May 2000 Word of mouse April 2000 Child's Play March 2000 tables turned February 2000 the ENO Studio January 2000 a challenge from Michael Oliva December 1999 into the next century... November 1999 Joanna MacGregor writes October 1999 obsessed with consuming? September 1999 spnm welcomes Joanna MacGregor. July/August 1999 Spectrum 2 - miniatures for piano. June 1999 Hoxton Hall New Music Days. May 1999 Bath International Music Festival is 50. April 1999 Who is Georges Aperghis? March 1999 On frost, birth and death February 1999 Keeping busy... January 1999 Now that's what I call contemporary!