They now turn to more recent repertoire, with an EP combining a new recording of Steve Reich's breathtaking Different Trains and Bryce Dessner's Pulsing, inspired both by Reich and Dessner's own broader career in the world of rock.
The top half of the quartet - violinists Charlotte Maclet and Leslie Boulin Raulet - share some of their thoughts on this album, and the commonalities between the two styles featured on it.
Can you tell us a bit about how you came to work so closely with Bryce Dessner?
Leslie Boulin Raulet (second violin): It was 11 years ago, Bryce just arrived in France, he already wrote a few quartets and he wanted to share his music with musicians who would be open for this kind of music. I personally was really into minimalist music and rock, so it was the perfect combination I was always waiting for! We even played quintets with him on the electric guitar. I was in heaven! So we commissioned him a quartet.
Another highlight of our friendship, is when Bryce, who loves to explore collaboration between the arts, wrote his "Impermanence" for quartet and ballet. We toured it in Europe with the Sydney dance Company.
We also recorded some of his film music, and played and recorded for his rock projects, with his bands "the National" and "Mina Tindle".
Dessner is, among other things, a pupil of Reich’s - what elements in his music do you think are particularly inspired by having studied Reich’s style?
Charlotte Maclet (first violin): Reich's music has an incredible rhythmical power, He also uses layers and textures in a way that was never done before him. Dessner's music has this incredible same power which make audiences from the whole world react immediately to it. He also adds this rock element, being the guitarist of the band The National, which gives an extra kick. We like to think of his music as minimalist rock.
"I feel we really get this feeling in the 2nd movement, our throat is narrowing, we feel trapped and hypnotized at the same time."
Going back one musical ‘generation’ further - where do you think Reich, in turn, drew his inspiration from in creating his unique minimalist compositions? Was anyone experimenting in that area before him?
CM: The beginning of the century has seen a number of incredible experiences and new ideas from composers both in Europe and in America. Stockhausen for example was a true pioneer, who pushed the limits and open new doors for the people coming after him...
In Europe, Henry and Schaeffer were creating the electroacoustic music, bringing elements that had never been used before. This huge creativity was a very fertile terrain for the Minimalists to come onstage!
Different Trains is one of Reich’s multitracked works, like the Counterpoint series - what was it like to play live alongside three recordings of yourselves?
LBR: It was electrifying, schizophrenic and a bit crazy too!
We recorded the quartet n. 2 first, then quartet n. 3, then quartet n. 4. At this point we already had 12 tracks together, it was becoming more and more difficult to be in sync. We also had to adjust to the recorded voices, the soundtrack of the trains and the alarms.
And at the end, we recorded the quartet n. 1 as if we were in a concert. The feeling was totally overwhelming! I feel we really get this feeling in the 2nd movement, our throat is narrowing, we feel trapped and hypnotized at the same time. That's exactly how I felt in the recording process.
What was Benjamin Paulin’s role - and that of the ‘Paulin, Paulin, Paulin’ studio - in making this album happen?
CM: Benjamin Paulin offered his Paris showroom to be turned into a recording studio and he is creating a whole series of original recordings under the Label "Sounds like Paulin". His idea is to open to artists from all musical genres a place to experiment with project they wouldn't necessarily do in their own label. With our label NoMadMusic we are blessed with a wonderful relationship which made them immediately want to jump onboard this "offtrack project" and this album is now a collaboration between both labels!
Your discography on the NoMadMusic label continues to grow (I particularly enjoyed your Magic Flute album from 2019!) - can you tell us anything about your future recording plans?
LBR: It is actually really exciting! We have a very special integral of Beethoven's quartet coming up at the end of 2026. It is called Beethoven Folk. It is a new approach to listen to the 16 Beethoven quartets with a twist.
Very often, people think that Beethoven's quartets are the pinnacle of classical music, it is sacred, or that it is too difficult to listen to, or they don't even think it is for them to listen to at all.
Beethoven would have been really sad about all of this! He was really into folk music, arranging lots of tunes, even some drinking songs!! He wanted to be the medium between God and the people, he wasn't wanting to write for the elite. His music is for the people, for everybody to enjoy.
We found in all of his quartets some traditional music, traditional tunes, some traditional rhythms.
At first we would have fun trying to think which tune we knew, and then it became an obsession to find the real tunes and where it came from. And then we wanted to see if it was in all of his quartets, and it was! So we decided to research all of the folk tunes, we made them into little pieces of music arranged for quartet, and played them alongside the quartets. We also worked on the traditional music itself with a fiddler, Raphael Maillet, the instrumental technique is very different, and it influences also the way we played these Beethoven quartets: more rhythmical, more shapes and stronger grooves. We can really hear where Beethoven's music comes from. It was a great 6 years adventure, and it is finally coming out. We are so thrilled!
Quatuor Zaïde
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