Hungarian Quartet’s Mastery

Press, Volume CIII, Issue 30553, 23 September 1964, Page 18

Hungarian Quartet’s Mastery

The Hungarian String Quartet gave its second concert for the Christchurch Chamber Music Society in the Civic Theatre last evening and began the programme with Beethoven’s Quartet in B flat major. Op. 18. No. 6. The rich and glorious ensemble tone of this magnificent group of players soared forth in the start of the first movement, and this perfectlydisciplined playing made the whole recital a joy and delight Although the first movement of this quartet is essentially the music of the carefree heart, its mood of contentment springs from an underlying mysticism which is further developed in the slow movement—music exDressing an ineffable peace It was played with exquisite and appealing tenderness. In every finely-graded nuance there was faultless cohesion in nolished detail. The scherzo came as a

merrily-playing fountain with the sun glinting on the water and creating miniature rainbows. Each new aspect of the Hungarian Quartet’s playing calls forth new admiration and wonderment. The introduction of the last movement again evoked the deep feeling of the second movement in meditative contemplation creating a hushed expectancy. Then all was fulfilled in the joy of the finale which expressed itself without any need for flambovance or fireworks.

The Hungarian Quartet’s great mastery in works of modern idiom also was apparent in this programme in the olaying of Kodalv’s Quartet No. 2. This work began in sombre mood giving impression of depth and height in panoramic unfolding. Without ever rising to an apparent climax, the first movement went its peaceful way. The second was elusive with

strange and attractive harmonies and odd little quirks of melody offering comments, mostly serious and even melancholy. Brightness and confident direction came in the allegretto section and rose to clamant furore in the last movement. It was an interesting work but not one inspiring much affection.

Schubert's “Death and the Maiden” Quartet, however, restored that balance with its familiar melodies coming forth, from this superb playing and interpretation, with freshly-burnished glories. This was a performance showing the quintessence of refinement in stylistic understanding and authority. Had the members of the audience travelled thousands of miles to hear such a perfect performance every mile would have brought its reward at the end of the journey.— 1C.F.8.