Frank Martin's chamber music oeuvre may not take up much space on the shelf, yet it spans an entire artistic life. Together with pianist Ilona Timchenko; the Utrecht String Quartet dedicate themselves to three key works that impressively bring together tradition and modernity in the 20th century.

His early piano quartet from 1919 clearly echoes influences from Bach to Franck, as well as folk melodies he had heard whilst stationed in the Savoy countryside during the First World War, though it is repeatedly enriched by dissonances that hint at more advanced harmonic ambitions.

Martin quickly reached the limits of the traditional major-minor system, although he felt that music without tonality would be like architecture ignoring gravity. He combined Schoenberg's twelve-tone technique with a fine sense of sound and harmonic sophistication, particularly evident in the two outer movements.

It was not until the age of 75 that Martin turned to the supreme genre of chamber music: the string quartet. Combining his inspirations from a long artistic career, his unique voice can be recognised in the chord progressions, musical flow and vivid rhythms, which the Utrecht String Quartet bring to life with natural ease.