Not so long ago, all concerts were in doubt: musicians rehearsed at a loss, with half an eye on the infection figures. Fortunately it seems like a long time ago, but sometimes you are reminded of it. The program that played on Friday evening in De Vereeniging in Nijmegen, with music by Haydn and Enescu and a European premiere by Osvaldo Golijov, was actually intended as the final concert of the 2022 String Quartet Biennale, which was canceled at the last minute. It was well worth the wait. The concert will be repeated on Saturday in Amsterdam and on Sunday in Leiden.
Golijov wrote a ‘double string quartet’ commissioned by the Biennale: his idea was to pit an existing quartet that has been playing together for years against four soloists, to explore variations in ensemble playing and sound. Things turned out differently: the first violinist of the St. Lawrence Quartet, Geoff Nuttall, with whom Golijov had been friends for decades, became seriously ill. Golijov’s approach to the piece turned into an ode to his friend. Nuttall played in the world premiere of the work in February last year Ever yours hot, but died a year ago.
The St. Lawrence has gone on hiatus following Nuttall’s death. In their place, the British Doric String Quartet is in the Netherlands this weekend. As if the devil were playing with it, first violinist Alex Redington had to be absent for health reasons, but he was excellently replaced by the young Dutch Charlotte Spruit. The soloist quartet was led by Liza Ferscht-man, with violinist Tai Murray, violist Jennifer Stumm and cellist Ivan Karizna.
Joy of gaming
For a work with such a charged history Ever yours a miracle of joy. The two quartets echo each other, alternately leading and following, bouncing ideas back and forth. Doric is ‘quartet A’ and the other four are ‘quartet B’, Ferschtman explained in advance, but the interaction is not hierarchical at all. The work has four parts, which are played attacca, and those It Quintet quartet (opus 76, no. 2) by Haydn as a blueprint.
Golijov always likes to quote and paraphrase in his music and especially the theme of Haydn’s minuet (the third movement) let it be heard in all its glory. But it is precisely the subtle way in which he subsequently deconstructs it that is masterful. Also great: how the two cellists, seated next to each other in the center, then interlock to play a plucked bass line. The most beautiful was a slow movement halfway through, with echoing pizzicato notes from the celli and an intoxicating string weave, in which sparse, well-placed dissonances created a sensation of instability.
As a starter, Doric had first played another string quartet by Haydn, the much lesser-known opus 50, no. 2. They did this fresh and with courage. But the bouncer after the break was of a different order. It Octet from Enescu is not really standard repertoire, but a great and varied work, sometimes almost symphonic in design, sometimes elegant or folk music-like, and always compelling. Here too, the highlight of the inspired performance was stillness: a mysterious pedal point above which sparkled with strange, unhurried notes.