The Shostakovich Quartet

Press, 28 June 1989, Page 8

The Shostakovich Quartet

The Shostakovich Quartet, presented by the Music Federation of New Zealand at the James Hay Theatre, June 27, 8 p.m. Reviewed by Philip Norman. To hear Russian musicians play Russian music is usually worth a trek across Siberia without a yak. I would have made the journey for last evening’s concert, but only with transport. The Shostakovich Quartet is a fine ensemble, but its sounds rarely sizzled the ears. In the light of concerts by recent Soviet visitors, I was prepared for outpourings of passion from the performers; instead, warm, subtly alluring sounds wafted from the stage. The pianissimo is undoubtedly a strength of the quartet’s work. One almost needed an ear trumpet to appreciate fully the control displayed at, for example, the close of Shostakovich’s String Quartet No. ¥

in D, or during this charming work’s third movement. These frequent, skilfully wrought excursions to near subaudial levels added a depth of dynamic shading rarely witnessed. Another feature of the quartet’s sound was its distinctively wide vibrato. Few notes were left untouched by this device, and the tone remained generally warm throughout as a consequence. However, it took some time to grow accustomed to this tonal modulation. In places during the opening, Borodin’s String Quartet No. 1 in A, it almost seemed as if pitches had strayed from their true level. While there were many moments of lively rhythmic articulation in the Borodin, Shostakovich and Schumann (String Quartet No. 1 in A minor) quartets, the playing carried a curiously introspective air. Notes were struck with a

romantic tone, but delivered with seemingly classical reserve. The most vigorous and arresting sounds were, oddly enough, the least cleanly delivered — I refer to the sprightly Scherzo of the Schumann quartet. As if to compensate, the closing Presto of this work featured contrapuntal lines aired with remarkable clarity. It was refreshing to hear a work by Borodin, and absorbing to watch the detail applied to the interpretation. While the Schumann quartet was dispatched with polish, it was, nevertheless, the sounds of the Shostakovich Quartet that will linger in my mind. The commitment to the music was plain to see, and the stylistic integrity displayed could not be faulted. The group’s decision to take the composer’s name as its own was •well vindicated.