I'm a little overdue with this CD review.

As if anybody is expecting me to keep a regular schedule! The disk is listed on my listening journal as Hebert Vazquez's String Quartet No. 1. And this brings up the topic of nomenclature and classification--more on that tomorrow. The formal CD title is simply "Mexico" and is performed by the Arditti Quartet. I probably bought this at the previously-mentioned clearance sale at Tower when it went out of business; I don't recall. I don't have to remember to know why I chose this disc. It was the Arditti Quartet!

These guys are clearly, passionately, dedicated to modernist and contemporary music. While the Arditti is undoubtedly less well-known than the Kronos Quartet of San Francisco, who are also celebrated for their dedication to contemporary composers and music, the Kronos musicians are neither dedicated to Modernism nor are they anywhere near the impeccably musical performers that we find in the Arditti. I know that the movement known as "Modernism" has passed into history and is a tiny bit old-fashioned , but that doesn't take away from the many composers who still work in this rich vein. Nor does it diminish the work of the Arditti. I think that eventually, the elements and principles of Modernism will move alongside the threads of Classicism and Romanticism as one of the great characteristics of art. As we open the 21st Century, it's probably still too soon to clearly define Modernism--they're still debating Romanticism! But if you believe in knowing it when you hear it, a place to start is the recordings and performances of the Arditti Quartet.

In case you haven't guessed from the title, this disk is dedicated to Mexican composers and six of them are represented here with single works. Three of these are actually not for the string quartet, but are more-or-less solo violin pieces performed by the quartet's namesake, Irvine Arditti. I say more-or-less because one of the works is for amplified violin and another is for violin and electronics. German Romero's Ramas is the amplified work and it's a nice exploration of the sounds a violin can only make at very low volumes, assisted by amplification, and the changes that amplification brings to the sound of the fiddle while Rogelio Sosa's Espasmo fulgor takes a traditionally modernist route with seemingly orchestral electronics--a very subtle blend of drama and mystery! When I think of Modernism, I think of the contributions of Expressionism and how important they are: sudden, extreme changes in mood and character. All of the works on this disk show that to some extent, but never in a trivial, theatric manner (like weaker composers and performers may be prone to exploit). That's what I love about the Arditti. These pieces are played with sensitivity, drama, and flair. The superb sound of the team and their incredible group dynamic show a unity of ensemble that's so, so satisfying.

It's hard to believe that the Vazquez quartet is even playable in spots, the textures of interlocking sounds are so intricate at times. It also pleases with some nicely robust rhythmic passages. Hilda Paredes' Uy u'tan shapes up nicely with a tremendous soundscape of static, dissonant held notes interwoven with sudden, sweeping snippets of motion. All of the works on this disk are outstanding, with the possible exception of Juan Felipe Waller's De jaque, sal, gala y luna, which is a fairly routine violin piece that is mostly saved by Mr. Arditti's fine work. I'm filing this disk away now and won't hear it as often anymore. I'll miss it.

9 out of 10

CDs listened to today:

• Samba Mapalanga: Ujumbe