Charming concert by Iwamoto Quartet

Press, Volume CXI, Issue 32568, 30 March 1971, Page 18

Charming concert by Iwamoto Quartet

The first concert of the Christchurch Chamber Music Society was given last evening in the Civic Theatre by the Iwamoto String Quartet, Mari Iwamoto, and Yosiaki Tomoda, violinists, Jungi Suganuma, viola, and Toshio Kuronuma, cello.

They played Beethoven’s String Quartet in A major, Op. 18, No. 5. a String Quartet in A major by the Japanese composer Roh Ogura, and the Sibelius String Quartet in D minor, Op. 56 (known as the "Intimate Voices.”) This was a charming concert, making a splendid beginning to what 'promises to be an excellent season. Right from the start of the Beethoven work it was obvious that there was a rare sensitivity in the ensemble playing and that each player had secure command over the finest points of subtle expression and of variety of timbre. Even when the playing was kept within quite close limits of volume the variety of colour and the delicate shadings of -nuance were remarkable. The rhythmic unanimity, naturally to , be expected in players at such a concert, was nevertheless a continual joy to the hearers and brought forth an exultant response. Miss Iwamoto played with smoothness and stirring I vitality of tone which never

failed to hold full attention nor to compel appreciation. She .was a great leader, for there was full response from the other players to everything she brought forth so plenteously. It was all such magnificently supple playing. Mr Tomoda, by slightly different tonal colour, gave contrasting playing which aided clarity of line in the violin parts, and yet kept a splendid blending. Mr Suganuma added a luminous glow, with his rich viola sounds, to the ensemble; and Mr Korunuma’s cello gave vibrancy to the whole chorus and sure foundation as well as many a grace of ornamentation.

The Beethoven and the Sibelius Quartets have been played here before, but the Roh Ogura Quartet was new. It was a work which immediately made itself friends in the audience. While there was nothing new nor startling in idiom there was a secure and imaginative use of material, deft development, and warm and sincere feeling.

The part-writing had clear sense of direction, the episodes were cogent, and the climaxes did not disappoint. It seemed that this was music which would stand up well to repetition and would keep on showing more and pleasing facets. —C.F.B.