A quartet that is new to me but is ten years old, formed ten years ago at the RCM. The programme sold it to me -
Haydn - Quartet in C, Op. 50/2
Webern - Five Movements, Op.5
Cage - Four
Beethoven - Op. 131
Whilst not exactly a history of the string quartet it comes pretty close in terms of how the genre has developed. Some two hundred years separate the Haydn [1787] and the Cage [1989], and it is interesting to note that when Webern wrote his piece in 1909 he was closer in time to the writing of the Beethoven Op. 131 [1826], than we are to Webern... The Haydn was beautiful, lively, and jaunty, the leader Johannes Marmen also soaring in the lyrical moments. Hearing Haydn live reminds me of why I love him so much, he never fails to raise the spirits. The value of the live performance hit home to an even greater extent in the Webern. Some of the sounds are intentionally barely audible, and serve as a contrast to the intense, complex and brutal sounds. The playing was just as passionate as for the Haydn, managing to create a mood of eeriness and apprehension. A recorded version of the piece would struggle to replicate this. The Cage extended this feeling of introspection and close listening, and this performance had brief moments of quiet beauty which will never of course be repeated. The players made a bit of a show of pressing the screens on their mobile phones to ensure the correct timing - I found this a little showy and unnecessary. After the interval came the Beethoven. It was a pleasure to hear as always but I felt it lacked a little heft at certain moments, but that's a very minor quibble. This is a great ensemble, full of passion and energy, and the Stoller Hall is a perfect venue for chamber music with outstanding acoustics. If/when the Marmens launch their recording career I hope that they maintain their commitment to the complete range of the repertoire.
Haydn - Quartet in C, Op. 50/2
Webern - Five Movements, Op.5
Cage - Four
Beethoven - Op. 131
Whilst not exactly a history of the string quartet it comes pretty close in terms of how the genre has developed. Some two hundred years separate the Haydn [1787] and the Cage [1989], and it is interesting to note that when Webern wrote his piece in 1909 he was closer in time to the writing of the Beethoven Op. 131 [1826], than we are to Webern... The Haydn was beautiful, lively, and jaunty, the leader Johannes Marmen also soaring in the lyrical moments. Hearing Haydn live reminds me of why I love him so much, he never fails to raise the spirits. The value of the live performance hit home to an even greater extent in the Webern. Some of the sounds are intentionally barely audible, and serve as a contrast to the intense, complex and brutal sounds. The playing was just as passionate as for the Haydn, managing to create a mood of eeriness and apprehension. A recorded version of the piece would struggle to replicate this. The Cage extended this feeling of introspection and close listening, and this performance had brief moments of quiet beauty which will never of course be repeated. The players made a bit of a show of pressing the screens on their mobile phones to ensure the correct timing - I found this a little showy and unnecessary. After the interval came the Beethoven. It was a pleasure to hear as always but I felt it lacked a little heft at certain moments, but that's a very minor quibble. This is a great ensemble, full of passion and energy, and the Stoller Hall is a perfect venue for chamber music with outstanding acoustics. If/when the Marmens launch their recording career I hope that they maintain their commitment to the complete range of the repertoire.
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