PASCAL STRING QUARTET

Press, Volume XCI, Issue 27643, 27 April 1955, Page 11

PASCAL STRING QUARTET

BEETHOVEN CONCERT

If we are to believe Arthur Jacobs —and there are some grounds for doing so—it appears that chamber music is as much appreciated in New Zealand as anywhere. For this comparatively recent development the Federation of Chamber Music Societies is largely responsible. The encouragement of visits to this country by overseas players is one aspect of its policy that has been pursued thoroughly. The visit of the Pascal String Quartet is further evidence of the influential contacts established by the federation. These instrumentalists maintain the high standards which have been associated with other ensembles brought to Neiy Zealand under the same patronage. Last evening’s concert in Christ church by the quartet was devoted to three works by Beethoven. Some may have wished, if the programme had to be confined to this composer, that ohe of the later quartets had been included; others that a more diverse selection had been made. As it is, in two appearances this group has performed Beethoven, Schubert, and Ravel in the ratio of four to one to one. Be that as it may, a full evening of Beethoven, though forbidding in prospect, rarely fails to be rewarding.

The Pascal Quartet possesses qualities which immediately differentiate it from most other groups heard in recent years. Purity and lightness of tone contribute mostly to this—both of them characteristics which make possible a beautiful blending of the four instruments at all dynamic levels below fortissimo. Though the violins vary markedly in tonal quality, the sonority of the viola, and the admir-ably-balanced weight of the ’cello support them with a bass of confident resonance and artistic flexibility. The ’cellist, in particular, is adept in turning the prettiest of phrase#. For excellence of execution, the, C minor Quartet was pre-eminent. The delightful andante scherzoso showed clearly what masterful bow control can achieve. Unanimity' of phrasing, expertly-planned nuances, and an obvious delight in negotiating rhythmical subtleties resulted in a tour de force technically and interpretatively. From a somewhat ragged and unsteady beginning, the second of the Rasumovsky Quartets. Opus 59, settled down, and the nimble rondo, with which it ends, was ts neat and crisp as one could desire. After an interval of considerable length, the Quartet in E flat Major, Opus 74, was played. Here, the mutual understanding existing between the players resulted in a remarkably dramatic interpretation of this highpowered score. Rhythmic liberties were taken, but in every case they added to the composer’s intention a liveliness which clarified rather than obscured the thought being presented. Tactics such as this are to be commended when the experience bred of long familiarity is there to impart authority to the final result. That the players were successful was shown by the prolonged applause given them by the audience. —J.A.R.