Playing Of Prague Quartet Appreciated

Press, Volume CVI, Issue 31096, 27 June 1966, Page 14

Playing Of Prague Quartet Appreciated

Mr Maurice Till and the Prague Quartet of the University of Canterbury ptayed in the University Hall on Saturday evening to an audience which gave them a furore of appreciation. The Prague Quartet began the programme with Haydn’s Quartet in B flat, Op. 76, No. 4. The first movement opened in quiet and idyllic atmosphere which soon gained heightened effect with cascading runs. Rippling expression, all balanced in perfect accord and wedded to charming timbres delighted the hearers. The slow movement spoke wisely in the warmth of humane understanding. The grace of the ballroom of the period came with shining elegance in the minuetto which had sunny happiness. Mature reflection marked the trio section. The finale flew along in jocund spirit, gathering a terrific momentum on its journey. Prokofiev’s Quartet No. 2 in F major began with bucolic cheer. Characteristic folkdance melodies suggested now a heavy-footed stamping, and again some complicated whirling. Later, there were lines of people advancing and retreating, and all keeping the party going with a will. The second movement had a plaintive sound and a suggestion of distant crags and misty depths. Then a lighthearted and charming little melody danced along like a gnome hell-bent on mischief: but he disappeared and lengthening shadows, casting strange patterns, returned. In the third movement the revellers, now a few more sheets in the wind, appeared again, and their exuberant

vitality evoked some strange but attractive sounds as everyone was invited to join in the good cheer. The work was played with superb understanding and expertise. Dvorak’s Piano Quintet, Op. 81, gave us delights in .mounting profusion. The playing was suave and rich in romantic tone and expression, and everything was in perfect balance and had unanimity of intent. A gentle melody from the ’cello introduced a lively burst from the whole ensemble, and alternating lyrical and movingly passionate episodes held charmed interest and rose to a grand climax. The second movement began as a slow and dignified dance, quickening to music of gay spirit, and both ideas were worked out with appreciation of colour and swift changes of gait. Each glancing atmosphere was instantaneously created and the lovely sounds gave sheer joy at every moment. The movement ended in reflective serenity. The scherzo erupted in highly infective gaiety and effervescence, with momentary calm in the trio, and it all ended like the crowning spurt of a rocket’s upward flight. The finale, with deeper content, issued what was practically a martial summons to revelry, and this invigorating music was rich in bright tone, captivating rhythms, and general spirit of well-being and enjoyment of life. In response to prolonged expression of appreciation the players repeated the Scherzo as an encore.

The members of the Prague Quartet could be expected to have complete understanding of every nuance in their fellow-countryman’s music, but Mr Till matched everything they had to give. —C.F.B.