Rich Magnificence From Vienna Octet

Press, Volume CIV, Issue 30820, 4 August 1965, Page 18

Rich Magnificence From Vienna Octet

The Vienna Octet played for the Chamber Music Socity in the Civic Theatre last evening and gave a display of dazzling radiance in ensemble playing that will long be remembered with gratitude. The high reputation of these artists has long been known, but their playing exceeded all expectation. The Hindemith octet which began the programme was a work of many and quicklychanging moods ranging from fugal texture of intense gravity in the chaconrie to light-hearted fun in the ending. Between these extremes anything could happen and. of course, it did, creating surprises for the listeners with interesting harmonic clashes and rhythmic quiddities. As is usual in this music interesting- pathways opened but never led where it was expected that they might, and sharp thorns could be found in the maze close to scenes of idyllic beauty. However, it all made for interest and there was never a dull moment.

Because of the instrumentation required, this work is not likely to be frequentlyheard here and many of its fleeting secrets will remain undisclosed. It is certain that a more understanding interpretation will not be given. Probably the technical difficulties would offer few problems to these players, but the problems of balance must in initial stages be formidable indeed. It was in that realm that the playing was so astonishingly brilliant. In the midst of seemingly chaotic discordance every strand could be clearly heard, and each instrument seemed to take on a luminous quality as its particular importance required it to stand out.

There was no doubt that this interpretation came right from the heart of the music. It was continually astonishing how much subtle variety of tone and expression could be given, with perfect balance

over all, within quite narrow limits of volume.

The other work on the programme was the Schubert Octet in F major, Opus 106 This rendering had seeming perfection, and the artists all paid full homage to their illustrious compatriot—making amends for his contemporary fellow-citizens’ lack of full appreciation of his genius. In the opening adagio there was a glorious bloom on every note in the ensemble, and what enchanting balance there was in expression! The same wonderfu’ control imparted the most finely - imaginable polished sheen in the allegro. Every phrase was a revelation in delicately - wrought expression, no matter upon what detail one’s attention should momentarily be fixed. The control each of these players has upon his instrument makes it an inseparable part of himself, and all technical actions as natural as his breathing. The andante opened with sunshine seeming to emanate from that magical clarinet, and the rays were then reflected by all the other instruments in turn in the creation of a scene of dappled shadows. The scherzo continued in this atmosphere in lighter vein and high spirits, and the trio was particularly lovely. And what can adequately be said of the delight given by the incomparable playing of the variations in the fourth movement? Possibly only gratitude that it has been given to man to write such music and that we heard it played so perfectly. The minuetto was played with polished and courtly grace, and the last movement, beginning with ominous hovering sounds, burst out into a fountain of carefree happiness.

This was indeed an evening of rich magnificence.