Plymouth
Church
March
19
A Central European sound from Boulder, Colorado. |
In
an evening of superlatives that included a guest appearance by
superstar pianist Garrick Ohlsson, the most striking moment in the
Takács Quartet’s
performance on Tuesday came in the opening bars of Haydn’s
“Sunrise” String Quartet (Op. 76. No. 4). With the
audience’s ears and expectations primed by an opening Brahms work,
the piece could have stayed in the Romantic mode and sounded
glorious. Yet there it was: elegantly Classical, a segue of nearly a
century with barely a whisper of transition,
a sound beautifully self-contained and absolutely true to the
music.
This
is emblematic of the Takács
Quartet, a world-class string ensemble founded in Budapest in 1975.
The group still has a distinctly Central European sound, despite
having replaced two of its members with foreigners and relocating to
Boulder, Colorado. Most chamber groups achieve notoriety by putting
their own mark on the music, developing a specific style of
interpretation. The Takács
Quartet goes the other way – deep inside the music, finding its
heart and revealing its intrinsic beauty without getting in the way.
The players don’t so much interpret works as inhabit them.
Their
polished familiarity with Tuesday’s program was hardly surprising,
as the group has recorded all three pieces, twice in the case of the
two Brahms quartets. But the warmth of their tone was captivating, as
was the seamless quality of their sound, even in the most complex
passages. Over the course of the entire evening, there wasn’t a
single sharp edge in the music; it all flowed like water, a technical
tour de force.
The
somber cast of Brahms’ String Quartet in A minor, Op. 51, No. 2
was anchored by the dark-hued timbre of András
Fejér’s cello, enhanced by the rich acoustics of the
church. An understated approach kept the tempo moderate and let the
music breathe, maintaining remarkable clarity in a score that is
often orchestral in its density. The final movement was impassioned
but controlled, building gradually to the dramatic breaks and a
dynamic finish.
The
Haydn work is one of the more serious in the composer’s oeuvre, and
a good fit for the Quartet, which kept the darker tones but this
time with an airy, silken feel. The opening movement was like morning
breezes, and the second wonderfully evocative of evening atmospherics
and stars in the sky. The sudden changes in rhythm and texture in the
third movement were perfectly realized, transporting listeners to
another place entirely. And first violinist Edward Dusinberre was
particularly impressive in the intricate runs of the finale, bringing
the audience to its feet with a spirited finish.
It
seems heretical to characterize Garrick Ohlsson’s appearance for
Brahms’ Quintet for Piano and strings in F minor, Op. 34 as
anticlimactic. But Ohlsson wasn’t there for the spotlight. He sat
behind the players and occupied the same position in the music,
playing subdued accompaniment and dropping embellishments and solo
phrases into the somber string sound like bright raindrops. The
strings were heart-rending at times, even gripping in the extended
second violin lines played by Károly
Schranz. The deep sound of the cello and Geraldine Walther’s viola
added Wagnerian overtones to the third movement, and the finale was a
masterful display of intensity and contrast, ranging from soft solos
to ringing melodic outbursts from all five players.
The
Cleveland Chamber Music Society consistently offers some of the best
concerts in the city. But even by its usual standards, this was an
exceptional evening of intelligent, well-informed work by brilliant
players. The following night, Ohlsson and the Takács
Quartet performed the same program at Lincoln Center in New York –
no doubt to a much larger audience, at much more expensive ticket
prices. At times, classical music fans in Cleveland are truly
blessed.
For
more on the Takács
Quartet: http://www.takacsquartet.com/
Photo by Ellen Appel
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