Ensemble 'dazzling'

Press, 26 July 1979, Page 7

Ensemble 'dazzling'

BY

C. FOSTER BROWNE

The McMaster String Quartet, the resident quartet at the University of Canterbury, gave a recital to a capacity audience in the School of Music on Tuesday. The players, Marta Hidy and Sasha ’Weinstangel (violinists), Mark Childs (viola), and Zdenek Konicek (cello) all play with a dazzlingcommand.

I The recital began with) I Mozart’s String Quartet 'in| G, K. 387. This was superbly; plaved with al! the finer; points of ensemble expression observed by the players in strict accordance with the discipline of balanced ensemble. The four players think as one and therefore can achieve a freedom that surpasses the mechanical. The quartet requires vigorous playing, and certainly got it. It was interesting and instructive to hear with what unanimity of touch the McMaster Quartet can drop gradually from a mezzoforte by grades smoothly to a pianissimo and then reverse the order to fortissimo very quickly without a suspicion of doubtful balance. The minuetto and allegretto (the work has no real slow movement) had digni-

ified charm, and the finale )had infectious gaiety and vigour. It sometimes happens |in this hall that heavier and brighter sounds can become oppressive. That is not so with the playing of this quartet. The second work was interesting and, although un- ■ usual, attractive — the : “Suite Hebraioue” by Strul Irving Glick, a young Canadian Jewish composer. Some of it left me some- [ what out of depth. The first i three movements — Prayer, •. David Before the Ark, and > Cantorial Chant — were ■ founded on ancient liturgical • < models and had that order > and dignity. The last three ■ —- Simchat Torah, Song, and i Circle Dance — had a more secular ring. All were very ■ attractive and would yield 1 more secrets ort further 'acquaintance.