String Quartets

Press, Volume CII, Issue 30212, 17 August 1963, Page 3

String Quartets

[Reviewed by J.A.R.) The Art of String Quartet Playing. By Herter Norton. Gollancz. 190 pp. How appropriate that a book such as this appears in Christchurch at a time when our first resident quartet is setting up shop in the University of Canterbury! Herter Norton is clearly not only a listener to, but a participant in, string quartet playing, and this volume gives clear evidence of her experience as a performer, an interpreter and as a well-organised musician. Designed so that other players may benefit in a practical way, it is a value offering in an unexplored field. The seven chapters concern themselves with Style, Ensemble, Rehearsing, Tempo. Phrasing, Dynamics and Colour and Texture. Each begins with a brief definition and then proceeds to a consideration of the interpretative and technical problems arising from specific quartet movements, chosen carefully to demonstrate a variety of solutions. For instance, of dynamics Mrs Norton writes, "We shall here try to consider dynamics as the element in expressiveness affecting the current of the music, the intensification or diminution in volume or speed of its progress.” Colour she describes as a ‘relatively more static element," although granting these qualities to be almost inseparable. There follows a discussion of examples—quoted in music type, full score —from eight considerable passages of Beethoven Opus 18 and Haydn Opus 76 A systematic study on the lines indicated is the chief characteristic of Mrs Herter’s approach. For instance, in the chapter dealing with ensemble, each member of the quartet is discussed separately. Every second violin and violinist will derive benefit and pleasure from her description of their respective roles. But within this system, there is room for leisurely digression on such matters as what part of the bow to use, open strings, octave passages. what the great composers actually meant by such signs as the staccato, judicious choice of strings and so on. It is a pity that some sort >f index has not been Assembled for these intimate out vital topics, in addition to the given index of composers and their works. The ist of contents only partly neets this objection. For the up-and-coming tuartet player, for every tudent of string music, and •ven for old hands this will trove an agreeable com>anion. A preface by Isaac Item emphasises its signifi•ance for he claims that, to Hs knowledge, “there is nol ivailable in any language a veil systematised work or he technique and interpretaion of that marvellous body >f music called ‘the string quartet’.”

“Peterborough" reports ir ’.he “Daily Telegraph” tha' "The Times” had the same word in the same place in its crossword puzzle on two successive days recently. Monday's clue for 16 Down was “Shot a poet—thus achieving the rubber.” On Tuesday the same niche, 17 Down, had this clue: “A kind of humar boneshaker.” The answer in each case could only be the topical word, “Osteopath.”