Superbly performed Janacek quartets
Intimate Letters series: Bennewitz String Quartet, Auberge d'Italie
St James Cavalier scored a definite hit in the most recent recital in the Intimate Letters series. Dedicated to Leos Janacek, his two string quartets were performed by the relatively still young but extremely accomplished Bennewitz Quartet. The Czech musicians, namely Jiri Nemecek and Stepan Jezek (violins), Jiri Pinkas (viola) and Stepan Dolezal (cello) entertained a very appreciative audience who snapped up all the tickets to a 40-minute plus performance that will be remembered as one of the highlights of this season. For the first time ever too, the recently cleared and restored cellars of the Auberge d'Italie were being put to use again after years in limbo.
Janacek (1854-1928) came to international notice rather late in life, mainly after he was 60 and the two quartets date from 1923 and 1928 respectively. No. 1 is titled The Kreutzer Sonata while No. 2 is known (how apt for the series) as Intimate Letters. At the base of both is the composer's passionate relationship with a much younger married woman, Kamila Stoesslova, one mainly carried out in an epistolary manner. Right at the beginning, Stepan Jezek gave a very comprehensive, brief and lucid account of the intricacies and "secrets" of the two quartets, during which explanation certain brief themes and contrasting phrases were played so as to further illustrate the various points he made. Between the performances of the quartets, Chris Gatt was no less illuminating in his wonderful readings from some of the hundreds of letters Janacek wrote to Stoesslova as well as from some of the much fewer surviving ones written to him by her.
Words could hardly do justice to the magic the quartet created. Their technical precision, their deep musicality and the great intensity with which they played reigned supreme throughout both quartets. They created the right atmosphere which made it so much easier to understand what lies behind these works. Both are of an unusually warm and passionate nature, proof that human sensitivity and unconditional love know no age limit. The projection was masterly and masterful. Matching the subject matter which Tolstoy's story inspired in the first quartet, Janacek's uncompromising involvement was made felt throughout the work.
While the second quartet brings closer home the origins and sources of the muse behind his inspiration. The terse material was very well-handled and the performers very capably generated the enormous climax in the adagio section of the second movement.
There were some contrastingly relieving moments in the third movement where muted strings created additional effect. There was quite a lot of resolute in what is actually a lullaby which ends up forming a background to the more gentle element which reappears here after having been heard in the opening movement. High spirits did not lack in the final movement where there was also a sense of sharply felt atmosphere of tender languor. Conflict and interaction abounded but no obstacle hindered the march to a very highly affirmed conclusion.
Janacek (1854-1928) came to international notice rather late in life, mainly after he was 60 and the two quartets date from 1923 and 1928 respectively. No. 1 is titled The Kreutzer Sonata while No. 2 is known (how apt for the series) as Intimate Letters. At the base of both is the composer's passionate relationship with a much younger married woman, Kamila Stoesslova, one mainly carried out in an epistolary manner. Right at the beginning, Stepan Jezek gave a very comprehensive, brief and lucid account of the intricacies and "secrets" of the two quartets, during which explanation certain brief themes and contrasting phrases were played so as to further illustrate the various points he made. Between the performances of the quartets, Chris Gatt was no less illuminating in his wonderful readings from some of the hundreds of letters Janacek wrote to Stoesslova as well as from some of the much fewer surviving ones written to him by her.
Words could hardly do justice to the magic the quartet created. Their technical precision, their deep musicality and the great intensity with which they played reigned supreme throughout both quartets. They created the right atmosphere which made it so much easier to understand what lies behind these works. Both are of an unusually warm and passionate nature, proof that human sensitivity and unconditional love know no age limit. The projection was masterly and masterful. Matching the subject matter which Tolstoy's story inspired in the first quartet, Janacek's uncompromising involvement was made felt throughout the work.
While the second quartet brings closer home the origins and sources of the muse behind his inspiration. The terse material was very well-handled and the performers very capably generated the enormous climax in the adagio section of the second movement.
There were some contrastingly relieving moments in the third movement where muted strings created additional effect. There was quite a lot of resolute in what is actually a lullaby which ends up forming a background to the more gentle element which reappears here after having been heard in the opening movement. High spirits did not lack in the final movement where there was also a sense of sharply felt atmosphere of tender languor. Conflict and interaction abounded but no obstacle hindered the march to a very highly affirmed conclusion.