Martinu and more
Recital: Martinu String Quartet and Angus Meryon, Manoel Theatre
It was quite a luxury that in the space of two weeks there were two string quartet formations from the Czech Republic performing in Malta. First the Bennewitz at the Auberge d'Italie performing the Janacek Quartets, then the Martinu Quartet at the Manoel under review here.
Apart from other works, the latter limited themselves to the performance of just one of their namesake's quartets. This was Bohuslav Martinu's seventh and last, subtitled Concerto da Camera, dating from 1947. While considered as wholly within an approachable style there is still a lot in it which is strikingly different, sharply acidic at times, with a lot of bounce and energy and great rhythmic vigour. This stood out in particular in the performers' projection of the outer movements within which there are several themes based on melodies which seem to play hide-and-seek. The melodic character of the andante was more vividly expressed as was the greatly vivacious and witty concluding allegro vivo.
The other quartet of the evening was Prokofiev's No. 2, in F, Op.92 "Kabardin". Written just five years before the previous work it is couched in much less harsh music than the kind its composer was hitherto producing. Turning towards more traditional stimuli Martinu found it in the exotic semi-oriental folk music of the Caucasus region where he wrote it. The Martinu Quartet's performance was a stylish one, of music manifestly simplified where no attempt is made to score any harmonic victories. The music flowed in a clear stream mindful of the simple formal structure within which all the charm of the melodic picture was concentrated.
British clarinettist Angus Meryon said he was lucky to be performing the two greatest clarinet quintets ever written when he joined forces with the Martinu Quartet for a performance of the Mozart and Brahms quintets. Coming at the end of the first half was Mozart's in A, K. 581. Who could go wrong with Mozart? Certainly not this formation, with a performance that was all charm, warmth and taste inherent in this work. There was an ideal blending of texture between strings and clarinet. The clarinet's role in importance increased well into the opening allegro and shared material on equal terms in the very lyrical larghetto. There was a lovely graceful flow in the two minuets with the variations of the concluding larghetto rounding off the work to great satisfaction.
It is enough to say of the Brahms quintet in B minor, Op. 115 that right through this work shone that mellow autumnal character of Brahms's last years. There is an undoubtedly sad tone to it which makes it very wistful and retrospective. It is an admittedly deeply-felt sadness which garners a paradoxical strength for its being coloured by resignation. Nothing but a very sensitive approach could bring out these characteristics, and clarinet and strings did just that. The performers worked their way to a climactic point in the variations constituting the finale Con moto. The atmosphere created was sombre, one of pathos and bitter-sweetness, that noble resignation ever more pronounced right until the inevitably sad but ever so dignified air of farewell.
Apart from other works, the latter limited themselves to the performance of just one of their namesake's quartets. This was Bohuslav Martinu's seventh and last, subtitled Concerto da Camera, dating from 1947. While considered as wholly within an approachable style there is still a lot in it which is strikingly different, sharply acidic at times, with a lot of bounce and energy and great rhythmic vigour. This stood out in particular in the performers' projection of the outer movements within which there are several themes based on melodies which seem to play hide-and-seek. The melodic character of the andante was more vividly expressed as was the greatly vivacious and witty concluding allegro vivo.
The other quartet of the evening was Prokofiev's No. 2, in F, Op.92 "Kabardin". Written just five years before the previous work it is couched in much less harsh music than the kind its composer was hitherto producing. Turning towards more traditional stimuli Martinu found it in the exotic semi-oriental folk music of the Caucasus region where he wrote it. The Martinu Quartet's performance was a stylish one, of music manifestly simplified where no attempt is made to score any harmonic victories. The music flowed in a clear stream mindful of the simple formal structure within which all the charm of the melodic picture was concentrated.
British clarinettist Angus Meryon said he was lucky to be performing the two greatest clarinet quintets ever written when he joined forces with the Martinu Quartet for a performance of the Mozart and Brahms quintets. Coming at the end of the first half was Mozart's in A, K. 581. Who could go wrong with Mozart? Certainly not this formation, with a performance that was all charm, warmth and taste inherent in this work. There was an ideal blending of texture between strings and clarinet. The clarinet's role in importance increased well into the opening allegro and shared material on equal terms in the very lyrical larghetto. There was a lovely graceful flow in the two minuets with the variations of the concluding larghetto rounding off the work to great satisfaction.
It is enough to say of the Brahms quintet in B minor, Op. 115 that right through this work shone that mellow autumnal character of Brahms's last years. There is an undoubtedly sad tone to it which makes it very wistful and retrospective. It is an admittedly deeply-felt sadness which garners a paradoxical strength for its being coloured by resignation. Nothing but a very sensitive approach could bring out these characteristics, and clarinet and strings did just that. The performers worked their way to a climactic point in the variations constituting the finale Con moto. The atmosphere created was sombre, one of pathos and bitter-sweetness, that noble resignation ever more pronounced right until the inevitably sad but ever so dignified air of farewell.