Fancy chamber music
Brevis Quartet, recital
When, way back in December 1970, Artur Rubinstien and the Guarneri recorded Dvorak's E Flat Piano Quartet Opus 87 it was a marriage made in heaven. The pianist, although an octogenarian, was at the height of his fame and also, believe it or not, his artistic prowess while the Guarneri Quartet was still comparatively unknown and very much on the make, but young, fresh and innovative.
The recording of the Dvorak is a miracle in itself; a proof that sometimes a recording can retain its spontaneity and keep you at the edge of your seat throughout. Almost four decades on, the interpretation is still as fresh as paint and the vibrant energy that the recording exudes is as immediate and gripping as it ever was. I was reminded of this particular recording during the performance by the Brevis Quartet on Thurdsay, July 19 at the Victoria Arts Festival.
The final item on the programme was the last movement of the Dvorak; allegro ma non troppo, a fittingly spectacular piece to end a lovely, well-chosen programme that was interpreted beautifully by this very young quartet from Austria. With none of the performers over 20, the concert was utterly amazing as already these artistes show those elusive qualities that only the greatest of interpreters and performers had. Not only have these young people studied intensively but they have all the zest for music that enabled legends like Rubinstien to be astoundingly creative and able to play with musicians a quarter of his age as if he were the most youthful of them all even in his old age.
Because the Dvorak is my favourite Piano Quartet and because the finale is so diabolically difficult but electrifyingly lovely, I could not help starting off my review at this point. The pyrotechnical finale, bursting with colour and overflowing with melodies that are all hallmarked as particularly Dvorakian, was splendidly performed with a great rapport between the young performers that was prevalent throughout the evening.
I loved Joe Vella's two Cantilenas; Sacra and Profana Opus 12 both of which were steeped in lyricism, exquisitely scored and set to expressive rhythms that were given full rein by this wonderful group of musicians who also played the Czech-born composer Ivan Erod's expressively mysterious Aria and Andante Tranquillo from his Quartet Opus 64 with an other-worldly beauty and deep intensity that constantly belied their tender years. The interpretation of the initial Mozart KV493; a mature work by the composer full of poetry, charming melodic lines, miraculously deft counterpoint and exquisite ornamentation, simply glowed with a sophisticated dynamic approach and expressive joie de vivre.
I doubt whether any of us in the audience had ever heard an adaptation of Max Bruch's celebrated and well-loved Violin Concert for violin and piano accompaniment. Lydia Silvera Peherstorfer played the hauntingly beautiful but notoriously difficult Adagio from the concerto with some audible hesitation at the beginning but which, as the molten passion of the music intensified, steadied and became more consistent, occasionally even touching the heavens; I look forward to listening to Ms Silvera Peherstorfer's first recording of the concerto with full orchestra with pleasure.
Brazilian enfant terrible Heitor Villa-Lobos is mostly known for his spellbinding virtuoso pieces for guitar, however, there is far, far more to him than that. Villa-Lobos was a composer who explored all sorts of unusual combinations of instruments with spectacular results like his Suite for Twelve Cellos and the riveting Bachiana Brasileiras. Aprole do Bebe No. 1 is a solo piano piece that describes four different dolls: the porcelain, the papier-mâché, the witch and the punch; all of which were hallmarked by a rich expressiveness and vivid colour. Above all they are, I should imagine, the most technically demanding pieces to pull off that I have listened to in a long time. Florian Lukas Feilmar pulled off both feats beautifully. The prodigious technical demands were secondary to the deep sense of interpretation that again belied his years. I must say that I loved the Porcelain Doll with its Meissen-like elegance and aristocratic charm most of all; however that overall effect made me wonder what Mr Feilmar is going to be when he grows up?
The same question can be levelled at all the musicians of the Brevis. How privileged we were thanks to the endeavours of the festival organisers and the Austrian ambassadress to listen to such a high-level quartet of brilliant musicians. The month-long festival has now drawn to a close and I am already looking forward to next year's edition with great anticipation.
The recording of the Dvorak is a miracle in itself; a proof that sometimes a recording can retain its spontaneity and keep you at the edge of your seat throughout. Almost four decades on, the interpretation is still as fresh as paint and the vibrant energy that the recording exudes is as immediate and gripping as it ever was. I was reminded of this particular recording during the performance by the Brevis Quartet on Thurdsay, July 19 at the Victoria Arts Festival.
The final item on the programme was the last movement of the Dvorak; allegro ma non troppo, a fittingly spectacular piece to end a lovely, well-chosen programme that was interpreted beautifully by this very young quartet from Austria. With none of the performers over 20, the concert was utterly amazing as already these artistes show those elusive qualities that only the greatest of interpreters and performers had. Not only have these young people studied intensively but they have all the zest for music that enabled legends like Rubinstien to be astoundingly creative and able to play with musicians a quarter of his age as if he were the most youthful of them all even in his old age.
Because the Dvorak is my favourite Piano Quartet and because the finale is so diabolically difficult but electrifyingly lovely, I could not help starting off my review at this point. The pyrotechnical finale, bursting with colour and overflowing with melodies that are all hallmarked as particularly Dvorakian, was splendidly performed with a great rapport between the young performers that was prevalent throughout the evening.
I loved Joe Vella's two Cantilenas; Sacra and Profana Opus 12 both of which were steeped in lyricism, exquisitely scored and set to expressive rhythms that were given full rein by this wonderful group of musicians who also played the Czech-born composer Ivan Erod's expressively mysterious Aria and Andante Tranquillo from his Quartet Opus 64 with an other-worldly beauty and deep intensity that constantly belied their tender years. The interpretation of the initial Mozart KV493; a mature work by the composer full of poetry, charming melodic lines, miraculously deft counterpoint and exquisite ornamentation, simply glowed with a sophisticated dynamic approach and expressive joie de vivre.
I doubt whether any of us in the audience had ever heard an adaptation of Max Bruch's celebrated and well-loved Violin Concert for violin and piano accompaniment. Lydia Silvera Peherstorfer played the hauntingly beautiful but notoriously difficult Adagio from the concerto with some audible hesitation at the beginning but which, as the molten passion of the music intensified, steadied and became more consistent, occasionally even touching the heavens; I look forward to listening to Ms Silvera Peherstorfer's first recording of the concerto with full orchestra with pleasure.
Brazilian enfant terrible Heitor Villa-Lobos is mostly known for his spellbinding virtuoso pieces for guitar, however, there is far, far more to him than that. Villa-Lobos was a composer who explored all sorts of unusual combinations of instruments with spectacular results like his Suite for Twelve Cellos and the riveting Bachiana Brasileiras. Aprole do Bebe No. 1 is a solo piano piece that describes four different dolls: the porcelain, the papier-mâché, the witch and the punch; all of which were hallmarked by a rich expressiveness and vivid colour. Above all they are, I should imagine, the most technically demanding pieces to pull off that I have listened to in a long time. Florian Lukas Feilmar pulled off both feats beautifully. The prodigious technical demands were secondary to the deep sense of interpretation that again belied his years. I must say that I loved the Porcelain Doll with its Meissen-like elegance and aristocratic charm most of all; however that overall effect made me wonder what Mr Feilmar is going to be when he grows up?
The same question can be levelled at all the musicians of the Brevis. How privileged we were thanks to the endeavours of the festival organisers and the Austrian ambassadress to listen to such a high-level quartet of brilliant musicians. The month-long festival has now drawn to a close and I am already looking forward to next year's edition with great anticipation.