Addressing the study of Janacek’s quartets, we were immediately struck by their beauty and richness. However, during our work sessions, it seemed to us that a number of elements were eluding our comprehension. From this point, we firstly focused our research on the man himself using biographies (in particular the one by Guy Erismann and Patrick Royer); we then re-read the Tolstoy novel, constantly confronting our personal visions of the work, and the way in which Janacek set it to music. We also discovered a few of the seven hundred letters he wrote to Kamilá Stösslová (translated by Daniela Langer), with whom he was so in love and to whom he dedicated this second quartet. Learning of the speed with which Janacek wrote these two quartets, we were curious to consult the manuscripts. Paradoxically, the composer’s notes, less numerous (accents, nuances and metronomic indications), immediately seemed to us to be more coherent and closer to our sensibilities. Beyond the notes themselves, these manuscripts express musical ideas, all in one go, although the accompanying ambiguities, extending to some that are impossible to perform, forced us to make personal choices. It turned out that, within the field of possibility, the task of interpretation was, for Janacek, a necessary component, in contrast to other contemporary quartets (Ravel, Bartok, Berg, etc...) that are written with greater precision.