Czech String Quartet

Press, Volume CX, Issue 32347, 13 July 1970, Page 16

Czech String Quartet

The Czech String Quartet of the University of Canterbury—Stefan Czapary, Rudolf Kalup, Jaroslav Karlovsky, and Zdenek Konicek—gave its second subscription concert in the University Hal) last evening to an audience which filled the theatre. Many extra seats had to be brought in.

The programme began with Schubert's String Quartet in E flat, Op. 125 No. 1, a youthful composition. As always, when the Czech String Quartet plays, every moment of the recital was sheer joy; and for this work by Schubert the players’ subtle artistry, their unanimity in technique, and artistic insight seemed to be exactly what was necessary, for they gave a glowing and completely satisfying performance. • The first movement had quiet and gentle dignity, while the scherzo was in merry and playful mood

throughout its short existence. The adagio was reflective and peaceful and was . played with particularly lovely tone: and the finale sang its way home without experiencing any delay or disturbance. There were no fireworks in this music, the players having to provide every bit of excitement—which they did very well indeed. Hindemith's String Quartet No. 3, Op. 22, began quietly with a fugato development which soon became rather complicated in fairly sombre fashion. The faster movement was much more excited, and tones sounding at times as though they came from wood-wind instruments were heard. The work conI tinned in a mysterious atmosphere with effective use of pizzicato against a plaintive melody. The music, surprisingly .enough, never seemed to be i harsh and always managed to

have a friendly atmosphere. It was superbly played, the tonal variety and control being astonishing. The programme ended with Mozart’s Quintet in A for Clarinet and String Quartet. K5Bl, with Frank Gurr as the clarinettist. The balance be tween the instruments in the first movement, particular!; in complementary timbres was never wanting for a moment. Mr Gurr produced tones of enchanting timbre in the second movement, and Mr Czapary’s echoing of them on his violin was fascinating. The minuetto with its two trios had all the joy of graceful living, while the variations on a theme in the last movement had the swirling upward surge of baroque architectural decoration. It would be very hard to imagine a better performance of this quintet. It aroused a furore of appreciation. —C.F.B.