HEARING this programme of Russian music, performed by a quartet of finely matched musicians, with immense technical ability and sensitivity, was hugely rewarding. Their empathy and insight into the music was phenomenal.
In Tchaikovsky's Quartet No 1 opus 11 the Adante cantabile revealed a familiar Ukranian folksong, lifted higher by the muted first violin. The mellifluous cello's counter-melody in the Allegro giusto preceded an exuberant coda.
The simplicity of the Allegro sostenuto's main theme in Prokofiev's Quartet No 2 opus 92 was diverted by harsh percussive chords. However, in the Adagio the cello sang a glorious love song. The Allegro was discordant with strings scrubbing, growling and plucking for effect, but the first violin lifted exquisite fragments.
Contrasting Rachmaninov pieces were gentle and melodic, then bright and cheerful.
Quartet No 8 opus 110 by Shostakovitch was a revelation. In five continuous movements, the initial Largo was sombre; the wandering chromaticism of the first violin above an unceasing drone, created a dark foreboding. Changes of strident and angry expression and direction in the Allegro molto and subtlety of melody in the Allegretto forestalled soul-searching Largo, dirge-like, with an ethereally high cello rising above, the viola and second violin entwined below.
The Rachmaninov Quartet had discharged this music superbly.
JILL HOPKINS
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