Camerata Quartet

Press, 20 September 1982, Page 6

Camerata Quartet

The Camerata Piano Quartet, at the Arts Centre, yesterday: afternoon. Reviewed by Heath Lees. At present the Great Hall is hardly the ideal venue for a concert- of chamber music. Street noise is obtrusive, and though the stark interior was offset, somewhat by the well intentioned camellias, the impression was still mauso-leum-like; thankfully though, the temperature ■ was. unusually kind.

The hall has a curious acoustic, too, so that from halfway back the bass notes become lost and the sense of intimacy and cohesion is endangered. To add to the difficulties, the piano was limited in its tonal colour, and though lola Shelley lavished all ner expressive flair

on it. she could not prevent its unwelcome metallic ring at any dynamic above' mezzo-forte.'

All this is disappointing since one would have liked to greet the Arts Centre’s sponsorship, with unreserved enthusiasm, and, , of course, because it provides severe hardship for the players.

More credit then to the -quartet, for making light of the various handicaps. There was a short settling-in period at the opening — Mozart- in his most G-minor mood and a sense of edge in some parts of the Rondo, but over all the work: appeared in its • essentially wistful garb, and the quartet was especially good at projecting the surprising flashes of rich harmonic colour. /(

The Chausson A major quartet was rich too — some might say over-rich — and proved the composer as •being entirely . listenable, though a master of-only the short phrase. Brahms' Opus 60 quartet on the other hand is almost symphonic in its formal conception. and the Camerata were obviously inspired by the music. The outer movements had a relentless drive about them and the scherzo was tightly knit. For me the Andante was certainly the highlight of the performance, with its long, sinuous lines being moulded with great care and musicianship. Obviously, Brahms is. going to be well served in this series of concerts.