Large Audience For Allegri String Quartet

Press, Volume C, Issue 29514, 16 May 1961, Page 17

Large Audience For Allegri String Quartet

The Christchurch Chamber Music Society sponsored the concert given in the Civic Theatre last evening by the Allegri String Quartet. The very large audience showed how the society is growing, and it should not be long before there will have to be a waiting list for membership. The members of the quartet are Eli Goren and James Barton, violinists, Patrick Ireland, viola player, and William Pleeth, ’cellist. Each player has a secure mastery of technique and together they play as a well-balanced ensemble with sensitive response in expression. The programme began with Mozart’s Quartet in D minor, K. 173. While this is not one of Mozart’s highly adventurous compositions, there could easily be more to it than was revealed in this performance. Compared with what was later given by way of delicacy of shadings, subtle matching of varied tonal timbres, and poised shaping of phrasing, this rendering barely rose much above the perfunctory. Britten’s Quartet No. 1, Op. 25 has not much to offer which would cause anyone, not already familiar with a great deal else that he has written, to wish to delve further into what he has to say. It began with very high work from the three top instruments—with the intonation sounding somewhat doubtful occasionally, but (as an old friend has pointed out) “the more off-key you become the more contemporary you can sound.” Mosquito-like noises these were with the ’cello in pizzicato applying the swat—unsuccessfully as it turned out, because after a dancing melody from the first violin and some energetic rhythmic figuration from the other instruments, the insects were back again doing business on the old stand. The second movement, mainly marked by strong staccato chords, had an attractive country-fair atmosphere. The third movement provided music of convincing structure expressing stress and tension. It suggested a gloomy vaulted cavera in which a plaintive and searching little melody was heard in attractive fashion. As the movement developed it gave coherence and meaning to much that had been heard before. The last movement, which might have been expected to sum up the

whole matter, opened with a short whimsical dancing figure followed by many short ideas, not seemingly worked out to an extent that they appeared to get anywhere, and with no very clear relationship one to another. Beethoven’s Quartet Op. 130, however, told a very different story from the other parts of the programme, both with regard to what it had to say and also in the stature of the playing itself. This was great and imaginative playing, raising expectancy all the way and satisfying it as it went. Here there was a deep search for beauty in the music and a finding of it, too. It was movingly expressive playing which commanded the closest attention. The adagio came with very beautiful tonal quality and exquisitely poised phrasing. The short bursts of power had strong dramatic impact and were played with perfect clarity and balance. The first scherzo had gaiety, colour, and movement, but the underlying tension was cleverly brought out. Much more serenity of spirit was heard in the next movement, which sang of happy days and pleasant vistas. This was lovely music, played with delicacy of feeling. The same spirit carried on into the next movement —a dance performed in a gracious salon under the gentle light of many candles. Then we had the most wonderful music of the evening, expressing a calm and profound meditation with thoughts which could not be influenced by the surroundings and which earthly troubles could not upset. Mr Goren’s wonderfully expressive tone set against repeated chords will long be remembered. The work ended with light and frolicsome out-of-doors music, which set the feet tingling, but it was all bound together in a beautifully woven texture. This was a grand performance well in keeping with many others which have been heard at chamber music concerts here. C.F.B.