This was my first chance to hear the Australian String Quartet since the change-over of first violin and viola. Hearing the dramatic flair and maturity of the new combination made me realise how unadventurous the previous line-up were. Below is my review published in the West Australian newspaper on Wednesday.
It is probably too early to expect the current Australian String
Quartet line-up to have established their ‘sound’. The group has welcomed a new
viola and first violin in the past twelve months and suffered a further shake
up to their first program for the year with injured cellist Rachel Johnston
withdrawing at the last minute. Despite this the quartet, with replacement
cellist Michelle Wood, seemed comfortably gelled when they reached Perth, the
final stop in the national tour. A combination of youthful zealousness and
discerning musical interpretation helped create vivid sound worlds from the three
works on the program.
Mozart’s String Quartet in D major K 499 was delivered with poise,
shaped by delicate phrase endings and melodic inflection. Kristian Winther led
from first violin with shining sound and fluid bowing, supported with astute precision by Anne Horton on second violin and
Stephen King on viola. Michelle Wood’s self-effacing cello contributions meant
the ensemble balance was a little top-heavy at times.
The gloves were off for Louis Andriessen’s Charlie Parker tribute
Facing Death. (check out the version on Youtube, much slower and less exciting.) The quartet took a fast, abrasive approach to the jazz riffs with
a swinging be-bop drive (despite the absence of a rhythm section). Winther and
King in particular played with idiomatic jazz groove. Andriessen’s heavy-handed
jazz mannerisms become relentless around the twelve minute mark and despite the
quartet’s virtuosic pace the piece seemed over-long.
The dramatic flair in Brahms’ Quartet in A minor Op 51 No 2
was appropriately understated and made a sharp contrast. The group made the
most of Brahms’ ever-changing textures and each meandering phrase was an
intriguing journey. The gentle transparency of the andante movement and the
ghostly menuet were highlights.
The quartet continues to impress, even with last-minute changes.
Let’s hope it makes the same good impression on the audience, which is dropping
in subscription numbers and could do with an injection of youthful energy.
This review copyright The West Australian newspaper 2013.
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