Alberni Quartet’s Concert

Press, Volume CVIII, Issue 31725, 8 July 1968, Page 12

Alberni Quartet’s Concert

The last of the public subscription concerts by the Alberni String Quartet of the University of Canterbury was given in the University Hall last evening. The programme began with Haydn’s Quartet in E flat. Op. 33, No. 2, the first movement of which was played in soaring and joyous tones in richlysounding ensemble. It is a a short movement but expansive in character. The second movement, a scherzo, was played with merry rhythmic lilt, having the gracious movement of a minuet. The tone had a lively but mellow quality, warmly attractive. The largo opened with meditative solemnity, rising to full-bodied chords, and continuing with a message of firmly-grounded confidence. It ended with a seraphic pianissimo. The last movement sped on with joyous flow of clear lines, glowing with that tonal quality which have come to associate with the Alberni Quartet. This was beautifully-polished playing. Alan Rawsthorne’s String Quartet No. 3 began in unsettled and disturbed mood—making clamorous bid for attention. Quiet discussion, honestly but tentatively seeking solution, followed most interestingly. The few moments when all instruments seemed . to have reached agreement had lyric charm—and the hectic passages always had a healthy feeling of adventure. They may have sounded puzzled but they were never morbid. The third section of the work was intriguingly reflective and misty in texture at the beginning. Complicated rhythmic patterns emerged, put together by fine hands. A mood of almost carefree humour and liveliness followed and led on to lovely meditative musings—seemingly free from former tensions —as the work ended. With Mr Maurice Till, the members of the Alberni Quar-

tet then played the Bloch Quintet for Piano and Strings. This opened strongly, with incisive and sweeping playing. A contrasting section in quieter vein ended with a long crescendo, leading to expression of high-spirited endeavour. The working out of these ideas brought interest ing convolutions, mostly in mood of taut intensity, but with some movements of quiet recollection. In the severe second movement, there was a charming section in which the strings

were muted. But, after this, things became rather savage awhile, and strange string sounds called for attention as the movement neared its close.

The finale began energetically—and for a while a high old time was had by all. Then a fragment suggesting distant bugle calls led to more serious and mature thought. The playing throughout the work was convincing, and of high order technically and in interpretative insight. —C. F. B.