Quartet Plays Superbly

Press, Volume CVI, Issue 31343, 13 April 1967, Page 14

Quartet Plays Superbly

The first subscription concert of the Chamber Music Society was given in the Civie Theatre last evening by the Smetana String Quartet, Messrs Jiri Novak, Lubomir Kostecky, Milan Skampa, and Antonin Kohout, now making their third visit to New Zealand. If they continue to play so beautifully we hope they will return many times, for their like is seldom heard. They played the whole programme from memory—an unusual thing for a string quartet to do—and began with Mozart's Quartet No. 7 in D, K. 499. In the first movement lovely sounds blended in mellow autumnal tones and flowed as a gentle stream through a gracious course. It was such unforced playing, having marvellously flexible control in production of tonal colours, in the finest shading of expressive rise and fall, and in the shaping of phrases. The minuet had stately dignity with a merrily tripping trio section. The playing of the Smetana Quartet shows the importance they give to

the exact judgment of tonal value for every note. There was enchantment in their playing of the slow movement whose subtle expression and elegant creation of mood was a rewarding delight. The tone of the lovely instruments, the members of the Smetana Quartet have, seems to have been soaked in sunshipe for centuries. The Rondo was a will-o’-the-wisp chase in music of good companionship. The second work was Janacek’s “Intimate Letters” Quartet and it was played with a skilled finesse and a penetrating judgment,’that must mark the performance as authoritative. The technical skill, and the astonishing sensitivity shown in the impeccable balance, the unanimity in the quicklychanging tempi, the clear exposition of the strong rhythmic construction of the work, all call for the highest praise. However, the work has been played here by many visiting quartets—rather more often than its intrinsic worth seems to justify when there are so many other works we would like to hear. If these intimate letters were to be heavily censored for quite a time one

listener at least would be grateful. The programme ended with Dvorak’s Quartet in A flat Op. 105. Here again there was superb matching of tone in the slow introduction, and happiness burst forth in the allegro. This was music of strong sunlight with little contrasting episodes played with tenderly romantic feeling. The balance that these players achieve in every finest detail is miraculous. The second movement was strongly rhythmic with lyrical and romantic contrasting sections. No great speed was used in the playing but strong rhythmic vitality was conveyed. The slow movement sang lyrically of pleasant memories —and of gratitude for them. By this time in the evening the technique and the sensitive esprit de corps of these players was being taken for granted as each new revelation of artistry was unfolded. The devoted hard work that must lie behind such consummate powers, however, must not be taken for granted, and all who heard the Smetana Quartet should be very grateful for the experience. —C.F.B.