Papa Haydn paired with his post 1900 descendants is the inspired formula for the opening, two day long Recital round at BISQC.
Each quartet played two such juxtaposed works back to back as would be in recital. By this scheme the ensemble by the 2nd movement reveals its strengths and weaknesses. In these masterpieces matters of performance style, intonation and rhythmic integrity are immediately clear.
Not to mention that respect must be paid in every way to the father of the string quartet, Franz Joseph Haydn.
In this round we heard Haydn/Berg three times, Haydn/Zemlinsky twice Haydn/Bartok once and Haydn/Janacek thrice.
On Monday the Hausmann was, for me, the best out of four Haydns with Opus 50 no. 5. The Noga was the first to play with opus 20 no.2. The Afiara and Asasello sparred over opus 76 no. 2. This more beautiful work received a warmer audience response. It is also very treacherous and at times rhythmically slid away in both performances.
Great affection was awarded the Afiara (Canada) by the audience, deservedly. This was not only for the Haydn but also for the sterling rendition of the Lyric suite by Alban Berg .It was translucent and remarkably, more cleanly classical than the Haydn. Colorfully shaped it was vividly insightful of the possibilities present in Berg’s score.
There were two more hearings of the Berg on Tuesday: Cecelia and Amaryllis. Both were noteworthy and well received. The Afiara’s remained my favorite.
I applaud the Cecelia SQ, the single act on the program Tuesday morning. Halfway through round one this Canadian group moved to the head of the Haydn class. They resolutely announced their presence by elegantly embracing the Opus 50 no.1, The Frog. Allow me to say they were like Tchaikovsky’s four swans in style and beauty. Nevertheless they managed to shed this in the last movement for the rough “frogginess” that endears this work to fans.
In the Afternoon
Wonderful and surprising things begin to happen. It seemed that word was traveling that a real competition was underway. Adrenaline, the good kind, was starting to pump. From this time forward to a stunning last play by the Peresson (US of A) the quality of presentation got higher and higher.
Quatuor Zaide played the rarely heard six movement Zemlinsky Quartet no. 4. Never flagging in their devotion to this task they successfully acquainted us with the inner voice of this early modern composer.
The Amaryllis picked it up from there, matching the rising energy of the event with a solidly sculpted Haydn opus 77 no.1. Furthermore, they made us happy that we were hearing the Lyric suite again.
Moving to nighttime the air is electric.
The much-anticipated Atrium Quartet from Russia took the stage and played the b minor, Opus 33 no. 1 Haydn. It was a good antecedent for what was to come.
The Bartok no.3 set the competition mark higher than ever. Short in length but demanding in style and accuracy, it was not a warm Hallmark moment but an outstanding achievement and a show of muscle by the quartet.
The Peresson quartet, newly formed in 2009 had this tough act to follow. This is where you may stand and put your hand over your heart and salute the flag, fellow Americans. Described as a quartet of virtuosi they brought the audience to its feet.
Unbelievably, for this third ” Kreutzer Sonata “ Janacek performance the players, especially the violist kept building an energy that the weary audience could not help but respond to.
These personal reflections resemble in no way the official deliberations underway. In fact the jury is shrouded inn complete secrecy until the final tallying.
There are three 6-hour semifinal rounds to go.
Join the festivities. Listen here http://www.cbc.ca/radio2/cod and add your comments.
Recent Comments