CHAMBER MUSIC CONCERT

Press, Volume XCVIII, Issue 28888, 7 May 1959, Page 7

CHAMBER MUSIC CONCERT

The Feld String Quartet

The Christchurch Chamber Music Society’s first concert of the season was given in the St. James’ Theatre last evening. From the gallery it seemed that the acoustic properties of the theatre were excellent for such music.

The Feld String Quartet, Messrs Otto Feld, Peter Halmi, Georg Szende and Vladyslaw Przybla, played to a very large audience. It would be hard to imagine more delicate playing than was heard from these artists. The texture of their performance, and the flexibility shown in the liveliness of expression they could produce at pianissimo level, were most exciting and will certainly be remembered. There was poised balance at all levels of expression and an impeccable legato which made the music seem to breathe out into the theatre.

They gave us wide variety of tone, and it all came so effortlessly. For the most part, the music did not call for much fire in the playing, but when it did there was a merry crackle. The unanimity shown in balance, tone, and expression was also marked in the rhythmic qualities of the playing. The underlying rhythm was firmly secure in its forward drive; but phrases bent and swayed in charming fashion. In fact, charm and delicacy were the hall marks of this concert.

The programme began with Haydn’s Quartet in G major, Op. 54, No. 1. The first movement had a merry and confident mood. Dramatic flashes of sound were contrasted with gossamer-like passages, and the clarity of line was never for a moment in doubt. The second movement was played with exquisite tenderness. Delicate wisps of sound and deep feeling in expression made this playing most fascinating. The minuet came as a movement of grace and elegance, and there was all the refreshing gaiety of the chase in the rondo. It was effervescent playing There was an intensity of feeling which gave nothing away in the performance of Beethoven’s Quartet in F minor, Op. 95. Its firm and colourful texture was clearly shown and there was a noble unfolding of its message. Here again balance and a sure sense of design in the playing were abundantly apparent; but as a performance many would prefer the playing of the Haydn work.

Bartok’s Quartet No. 1 was entrancingly played. The first movement was music of shadows and mists, but there was nothing murky in it Gleams of light occasionally seemed to break through for a moment, but were clouded over by the prevailing haze. Yet through it all there was an atmosphere of confidence. Very effective use was made of duet playing between instruments and there was economy in the way in which most interesting points were brought out. The music certainly had a strange but highly appealing quality. Summoning little pizzicato figures from the ’cello, followed by a sort of recitative melody answered by furious bursts from the other instruments caused light to break through. Excitement and cheerfulness came with a motif of reiterated notes, more snap came into the rhythmic texture, and the second movement burst forth into a swirling dance. This mood prevailed to the end. In this work we heard playing directed by great subtlety of understanding and forcefulness of dramatic insight. As encores, three movements of a suite by Leo Weiner were played.