"It is always controversial for an author to reveal the meaning of music conceived, because each association is very personal for listener that sometimes completely contradicts authors’s intention."
The aforementioned quote which appears in the inlay of the record very much refers (although from a different angle) to the same notion of instability of a text in channelling what the author himself has in mind, discussed widely in the poststructuralist theory. Of course one might say this is no text -- now, that is why I said from a different angle. Derrida's idea of a text on its own can be easily observed in other forms of art, including music and cinema. For instance, Slavoj Žižek's critical review of Chaplin's "City Lights" corresponds to Heidegger's use of Tolstoy's "The Death Of Ivan Ilyich" for demonstrating the idea of finitude and its relations to Dasein. In both examples, the philosophers escape the consensus about the works in order to traverse the unseen; in first a happy ending, and in latter the moral ending.
With the other string quartets I've listened to from musicians originally involved in free jazz being radically insane; namely Elliott Sharp's collaborations with Soldier String Quartet; while expecting no mathematical experimentations like those of Sharp with the Fibonacci numbers, I did except Vyacheslav Guyvoronsky to have doped an extent of say, mania. Yet on the whole the record proved otherwise. Guyvoronsky's intentions how obscured, the sonic result remains on a leash, just like its concept of a life of an ordinary man (think Ivan Ilyich, ironic?) -- yet not banal. It has the freshness of Varèse and steadiness of Charles Ives.
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