Alberni String Quartet

 

Karin Leishman - violin

Peter Pople - Violin

Matthew Souter - viola

David Smith - cello

 

Sun 22nd October, 3.00 pm

Concord College, Acton Burnell

 

HAYDN - Quartet in D minor Op.76 no.2 'Fifths'

Allegro; Andante o piu tosto allegretto; Menuetto: Allegro ma non troppo; Vivace assai

In 1797, when Haydn set to work on six quartets for Count Erdody (Op.76), he had transformed the medium over a 30 year period. Together with the last two quartets (Op.77) they are a crowning achievement in his most mature style and show a clear path to Beethoven and the 19th century. While this D minor quartet shares much with Mozart's K.421 (1784) Haydn has grown more symphonic in his treatment of four players after his experience of public concerts in London.

In the opening two notes of the 1st violin part, a falling fifth, Haydn presents a stem from which all else grows. This powerful motive persists through the 2nd tune and development, producing amazing contrapuntal energy and some surprising twists of harmony. The D major slow movement, a romantic aria for first violin with variations is followed by a tough D minor minuet in strict two part canon with a D major trio. The Finale, a 'Gypsy' style rondo, reminds us that Haydn lived half his life in Esterhazy palace surrounded by Hungarian fiddlers.

WALTON - Quartet in A minor (1947)

Allegro; Presto; Lento; Allegro molto

William Walton's genius and idiosyncratic style came to public attention in 1922 with 'Fafade' - an entertainment in collaboration with the Sitwells. In the same year he wrote a string quartet which was withdrawn after one performance. This magnificent 1947 quartet remains the only work for quartet authorised by the composer. Like the quartets of Debussy & Ravel, it stands out as an amazing achievement for a non-string playing composer.

A warm romantic opening soon gives way to the taut rhythmic drive so familiar in Walton's music. There is substantial development of both moods including a vigorous fugue derived from both first and second subjects and a long coda winding down gradually from tension to stillness. The dashing scherzo which follows is spiky, angular and liberally scattered with jazzy cross accents.

The F major slow movement is in extreme contrast being impressionistic and languid and making much use of mutes and the viola's mellow tones. The intentionally elastic rhythms, reminiscent perhaps of Gershwin's 'Summertime', have a lazy, rhapsodic flow, while the harmonies are as blue as Ellington. The terse energy of the Finale bites into A minor once more with a hard brilliance, setting in motion a Toccata of unstoppable force. The work ends uncompromisingly hammering out the bare fifths of A minor.

BEETHOVEN - Quartet in F major Op.59 no.l 'Rasumovsky'

Allegro; Allegretto vivace e sempre scherzando; Adagio molto e mesto; Allegro (Theme Russe)

The three quartets of Op.59 were written during 1806 and are dedicated to the Russian ambassador in Vienna, Count Rasumovsky. "True to the traditions of his family, the Count was a musician and one of the best connoisseurs and players of Haydn's quartets in which he was accustomed to take the second violin part." (Thayer) He asked Beethoven to include a Russian tune in each, and here it is the main theme of the Finale.

The opening of this F major quartet is on altogether grander scale than any of its predecessors, almost symphonic in aspiration, moving from the cello tune towards a high F in the first violin over a 19 bar phrase. The continuation is equally majestic and expansive - long singing lines enriched with brilliant scales and arpeggios over all four instruments. The second movement at its outset promises a much lighter mood - flippant fragments of tune from each instrument in turn, but after a second more romantic melody another large scale piece develops through distant keys and dramatic crises.

The third movement (mesto = sad), is a tragic lament again of substantial length, passing back and forth between anguish and reconciliation. The 'Marche Funebre' of the Eroica is close at hand. A long elaborated final cadence leads directly into the Russian theme and a wildly energetic finale. The virtuosic writing and dangerously tight cross rhythms build to almost hysterical energy in places. Only after a teasing chase through the fugal coda does the pace slacken and the Russian theme is played one last time at an exhausted tempo - before the rush for home.

THE ALBERNI QUARTET

The Alberni Quartet was formed more than 40 years ago at the Royal Academy of Music in London. Their interpretations of the great classics have attracted praise and respect around the world. Concert tours in USA, S. America, Caribbean, Australia, China, Finland etc. have often been combined with educational work at all levels. The Alberni's debut at the Carnegie Hall earned them a description in the NY Times "..one of the finest half-dozen quartets in the world today." Their recordings of Haydn. Mozart, Schubert, Mendelssohn, Schumann, Brahms & Britten have also been highly valued - the Schubert C major Quintet was nominated for a Grammy Award. Their association with Benjamin Britten's quartets and through him the UK premiers of Shostakovich's 9th & 10th quartets, put them at the centre of contemporary music making in the 70's.

Their rapport and long experience on the concert platform give the quartet an understanding and musical wisdom unusual among performers, qualities which the members of the quartet now share with their students at the Royal Academy in London.

While clearly demonstrating the expertise and maturity gained from a long and distinguished career, the Alberni Quartet retain the enthusiasm, vigour and attention to detail that make their interpretations today a rare and rich experience.