TAKACS QUARTET PLAYS BEETHOVEN / Review

TAKACS QUARTET PLAYS BEETHOVEN

Yong Siew Toh Conservatory Concert Hall

Friday (16 September 2016)

This review was published in The Straits Times on 19 September 2016 with the title "Stunning work from quartet".

It is no secret that Beethoven's string quartets are hardly performed on concert stages here. Over-reverence and trepidation on the part of local musicians will account for this, and audiences are the poorer as a result. Thus it was a treat to witness an evening of Beethoven quartets performed by the world-renowned Takács Quartet.

Formed in 1975 by four Hungarian students in Budapest, it is presently based in Boulder, Colorado with two of the original members still performing. The interpretation of Beethoven's 16 string quartets is the bedrock of its repertoire, and the three quartets performed also neatly corresponded with the German composer's “three periods” of composition.

From the “early period” was the congenial G major Quartet (Op.18 No.2), following earlier models of Haydn and Mozart but displaying signs of an independent, free-spirited mind. From the outset, the ensemble showed why it is considered one of the world's finest. First violinist Edward Dusinberre's leadership is impeccable, his entries direct and clear-headed, with his colleagues in close audio, visual and almost telepathic contact.

The foursome – with second violinist Karoly Schranz, violist Geraldine Walther and cellist Andras Fejer - coalesced as one although each part could be distinctly discerned. This was a coming together of singular minds with the ultimate objective of cohesion and projection that was keenly maintained over the 2-hour long programme. When the surface calm was stirred, as in the 1^st movement's development, the pacing and dissonance level was upped, but the quartet remained resolute.

As jarring contrast, the F minor Quartet (Op.95) from Beethoven's “middle period” was storm and stress in its four minor-key movements. Its nickname “Serioso” was taken seriously, as muscle and sinew strained to deliver its alternatingly angry and sombre message. Yet there were subtle gradations within this angst and indignation, which the quartet brought out trenchantly. With the wave of a wand, the finale's turned from darkness to light of a major-key to finish with an acute start.

The second half was reserved for the C sharp minor Quartet (Op.131) from the “late period”. Here Beethoven broke all the moulds in this 40-minute-long utterance of seven connected movements. The mind boggled at the myriad changes of mood, emotion and disposition that took place in this journey of the soul, wrought by the stone-deaf, disease-wracked and spiritually-scarred personality.

Dusinberre's stark opening solo issued like a cry for help, to which the other strings piled on their responses in a contrapuntal maze. Before any resolution could be had, the jolly 2^nd movement and interlude-like 3rd movement arrived before the 4^th movement's theme and variations. The quartet kept the audience listening, and enthralled as to what might just happen next.

Such is the elusive narrative quality of absolute music, that only an outfit like the Takács can convey with such utter immediacy and vividness. By the close of the passionately hewn finale, the chorus of bravos that rang out was a just indication of their stunning success.

Photographs from TAKACS QUARTET MASTERCLASS at Yong Siew Toh Conservatory

 

One of the world's finest string quartets, the Takács Quartet, was in town last week and gave a concert at the Yong Siew Toh Conservatory. Having missed that, I made up by attending the masterclass its four members gave to students at the Conservatory. The Takács Quartet was formed in Budapest by four students from its Conservatory during the 1970s. Only two of its original members, violinist Karoly Schranz and cellist Andras Fejer, remain today in the ensemble. 

A small audience was treated to a mini-concert by the students, who performed one movement each from chamber works by Haydn, Beethoven and Dvorak. All of the Takács Quartet members were very impressed by high technical standards achieved and had high praise for the student groups. They took turns to advise the players, not so much on the technical aspects of their playing, but on issues of balance, phrasing and projection. Occasionally, some of the memebrs also picked up an instrument and demonstrated to the students. Two hours passed rather quickly and the young musicians had much to treasure from this experience. 

Cellist Andras Fejer moves to the music of Haydn,
as played by the first quartet.

Violinist Edward Dusinberre demonstrates on
first violinist Liu Minglun's instrument.

Violinist Karoly Schranz has some words
for the quartet which played Beethoven's Quartet Op.59 No.3.

Violist Geraldine Walther tries out Guo Xiaoti's viola.

Some of the players sat within the audience
to experience the balance achieved on stage.

Edward Dusinberre observes the quintet group that
performed Dvorak's Piano Quintet Op.81.

The Takács Quartet with violinuists Li Jing Jing and
Hsieh Li-Chung, violist Guo Xiaoti and cellist Theophilus Tan,
the group that performed Beethoven.

The quintet group of pianist Abigail Sin, violinists Christina Zhou
and Gabriel Lee, violist Wong Kin-Chung and
cellist Cho Hang-Oh have their moment with the Takács Quartet,