Beautiful, passionate, neurotic, satirical… Just a few words I’ve seen used to describe this work, each movement with its own distinctive character and charm. Best of all, whether you’re an experienced lover of chamber music or someone with just an inquisitive mind, this piece just wins people over, one way or another!

Probably the best-known movement would be the second, Assez Vif, Très Rhythmé. After performing this recently as part of the Sydney Camerata String Quartet, a member of the audience commented that it was the most erotic piece of music she had encountered growing up. That’s not something you hear very often as a classical musician, but interesting and definitely appropriate, I think.

I have fond memories of hearing this movement for the first time on an ABC Classic FM Life is Beautiful CD that came with the paper. The performers were the Australian String Quartet in their current configuration, and their rendition of the second movement stands today as one of the fastest that I’ve come across. Exciting, brilliant and funky is how I would describe this one!

It wasn’t for at least a year that I got around to listening to other recordings of the work, only to realise the huge scope of interpretations kicking around. My favourite recordings would have to include the Alban Berg Quartet (on their 2007 CD Hommage for EMI) and the Hagen Quartet (a 1994 DG recording re-issued in 2004, coupled with the Webern and Debussy quartets). The ABQ approach to the second movement feels much more relaxed and demonstrates a sense of restraint which creates a “carefree summer day” sort of feeling.

In our interpretation we decided take a steadier approach while trying to maintain the intensity and momentum of the music.

Ravel wrote the quartet, his first masterpiece, at the age of 28 and dedicated it to his close friend and teacher Gabriel Fauré. Interestingly, he used it as a final submission to the Prix de Rome and the Conservatoire de Paris, where it was rejected outright! Critics were sharply divided after hearing the premiere in 1904, but more than 100 years later I don’t think there can be any doubt as to the success and sparkling genius behind this piece. The second movement has even permeated pop culture, used to great effect in films including Wes Anderson’s The Royal Tenenbaums.

From a cellist’s perspective, this piece throws in just about everything from complex rhythms and shifting time signatures to an assortment of fiendish fourths and fifths. As I look through my score I fondly recall some wise (and blunt) words we received from Pekka Kuusisto in a masterclass on this work: “Knowledge adds to the pain!” I’m not sure why of all the things Pekka said I chose to scribble that down, but it seemed so apt at the time, given the amount of intense work we had put into this piece. I think any classical musician would be able to relate to this. The more we discover about a piece, the more complex it becomes, and with a masterpiece like this we yearn to delve even deeper into the music to find out what else it might offer.

So if you haven’t discovered this gem of the quartet repertoire I’d encourage you to find a recording or – even better – get to a live performance of it. The Australian String Quartet play it on their national tour in September, and the Australian Chamber Orchestra played Richard Tognetti’s expanded arrangement on their recent tour, Glittering Fröst. I think it’s one of those rare works that’s bound to appeal in one way or another to everyone. For any concertgoer or string player interested in chamber music, I hope you’ll find this piece as challenging and rewarding as I have!