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Concert
review
Quartet
pulls off complex program
By Ken Champney
The Alexander String Quartet brought a superb program to Yellow Springs
Sunday, March 2, and they played it with dash and finesse.
W. A. Mozarts Quartet No. 14 in G major (1782) began the evening at
the First Presbyterian Church as part of the current Chamber Music Yellow
Springs series. I appreciated the quartets subtle treatment of the
opening measures. The score calls for alternating bars played loud-soft-loud-soft,
a contrast that can be overdone.
The G major is the first of six quartets Mozart dedicated to Joseph Haydn,
and the interplay between these two titans holds lessons for us all. Rather
than become rivals, each supported, encouraged and learned from the other.
The contrast in dynamics continues in the second movement, as each instrument
in turn moves up by loud-soft half-steps; and again in the third, as the
composer makes frequent use of the most quiet sound of all silence.
The finale is cast in sonata form (two contrasting themes), each begun as
a fugue but finished as a harmonized melody. (You might call a fugue a round
with a college education.)
Leos Janáceks quartet Kreutzer Sonata wears its
heart on its sleeve. Brimming with emotion, it was inspired by the elderly
composers infatuation with a young woman caught in an unhappy marriage.
(The title refers to Leo Tolstoys novel on a similar theme.)
The music is by turns yearning, pleading, cajoling, angry, ferocious and
ear-splitting as the fiddles play full force with rapid repeated strokes
(called tremolo) just above the bridge (ponticello). The sound resembles
the screech when you draw your fingernail down a blackboard.
Its a difficult effect to control but the Alexanders had it down pat
as they drew the audience into the impassioned music in a way that is possible
only in a live performance.
The quartet hears the piece as an early call for womens liberation.
Finding that in the music is a bit of a stretch, but it surely was on Tolstoys
agenda.
Ludwig van Beethovens epic Quartet in C-sharp minor (1826) concluded
the program. Its a work that challenges both the players and the listener,
despite being written almost 200 years ago. Old-timers may remember a stunning
performance by the Juilliard quartet at Antioch in the 1950s and a rendition
in an early Chamber Music Yellow Springs concert by an ensemble whose reach
exceeded their grasp.
The Alexanders are close to the Juilliards, and we could feel Beethovens
anguish over his hearing loss and his fear of impending death, overcome
by tenderness, joy, wonder and celebration of lifes immense gifts.
The music seems to come from somewhere else, sounding altogether different
from earlier Beethoven or anything else written by then. All this despite
the composers deafness, or perhaps because of it. Cut off from all
earthly sound, Beethoven could hear in full voice, the music of the spheres.
The C-sharp minor demands total, intense involvement for a full 40 minutes,
so I was not expecting an encore. What a delight, to hear an arrangement
of Bachs Fugue in E-flat, from the Well Tempered Clavier.
Beethoven takes us to outer (and inner) space, and then Bach provides a
glimpse of heaven.
* * *
Assorted
trivia:
The name Alexander is Wilsons official given name, appropriated
over his objection by the rest of the quartet.
Wilson and violist Paul Yarbrough are founding members (1981). Violinist
Frederick Lifsitz has played with them for 15 years, and violinist Zakarias
Grafilo joined the group seven months ago, though he had studied extensively
with the Alexanders, who are quartet-in-residence at San Francisco State.
They play an enormous repertoire, including all the Beethoven, Bartók
and Shostakovich quartets. That has been quite a challenge for Grafilo,
and Sunday night he faced a second challenge: his contact lenses were not
working properly.
It hardly showed in the performance, and the audience responded with a huge
standing ovation. The Alexanders are already a superb ensemble, and if we
can entice them back again, after the new configuration has a chance to
fully jell, I predict an out-of-this-world evening. |