Vlach Quartet Enthralling

Press, Volume CIII, Issue 30399, 25 March 1964, Page 18

Vlach Quartet Enthralling

Last evening in the Civic Theatre the Vlach String Quartet, from Czechoslovakia —Messrs Josef Vlach, Vaclav Snitil, Josef Kodousek, and Viktor Moucka—gave the first concert of this season for the Christchurch Chamber Music Society, and enthralled a very large audience with their charming playing. It is hard to remember a chamber music group receiving such prolonged acclamation. The programme began with Haydn’s String Quartet in D major, Opus 26, No. 4. Its dark and brooding opening, leading to contrapuntal music of clear texture, was played with warm and intense tones most beautifully shaded. What was promised here was maintained throughout the evening; for the work of this group of players is marked by the most lively ensemble blending of sound while every instrument retains its fullest individuality. Softly - caressing nuances gave that sense of beatific peace usually found at its highest form in some of Bach’s chorale preludes. The second movement, an air and four variations, began with exquisite tendresse in its opening theme. This led to a variation containing lighthearted syncopations, and it was followed by one in serious vein with rich sounds coming from the viola and ’cello. The third variation had playful antics from the first violin against slowlymoving chords, and the movement closed in the peaceful mood of its opening. Beau-tifully-contrasted tones were heard in antiphonal chords. After a high-stepping minuetto, the finale sang merrily on its way with bubbling joie de vivre.

Prokofiev’s String Quartet in F major, No. 2, was a highly interesting and divert-

ing work which began with strong chords inviting us to a festivity. The first movement, in which rustic cheer prevailed, seemed to be the music of the tipsy gypsy who, though slightly pie-eyed and about 18 inches off the ground, was a pleasant companion withal. The second movement was misty music in which semi-discernible shapes sway at the will of a zephyr. As the music went into a contrasting section a merry little melody sang against pizzicato accompaniment with delicate charm. The third movement, again based upon folk tunes, set out hell-bent on mischief and found plenty. This music, so superbly played, held rapt attention with its unexpected piquancies, its challenging little calls, and its chattering and mocking sounds all re-

fleeting the best of humour. Dvorak’s String Quartet in E flat major was a revelation of playing superbly controlled in every finest detail. The expressive changes of warmly romantic tone shown by these most gifted players will long be remembered. With the loveliest singing tone the second movement and the third breathed out into the theatre with nostalgic and haunting beauty. This playing was a model in command of expression dropping at times to a veritable whisper of sound. The music was so delicately poised that it seemed as if it could go on for ever without losing its magic. The finale was a movement of captured sunshine, glistening here and casting irridescent rays there, shimmering against a pattern of dappled shadows. —C.F.B.