Mozart & Bartók:
Alban Berg Quartet, QEH, 08.05.2006 (CC)
Always welcome visitors here in London, the Alban
Berg Quartet (ABQ) seem to be the epitome of professionalism
and style. The most recent member is Isabel Charisius,
and she has already made a significant difference
to this most august of ensembles.
Two Mozart quartets comprised the first half here
– the D minor, K421 and the so-called 'Hoffmeister',
K499. Both were more than expertly dispatched, but
it was the presence of the newest member of the quartet,
violist Isabel Charisius, that seemed to inject a
youthful quality to the readings, almost breathing
new life into the playing. Only in the Andante of
the D minor was there a feeling hat outbursts could
be more primal – as if to compensate, the Menuetto
was distinctly on the gritty side, itself contrasting
with the Trio, a half-Ländler with a pizzicato
accompaniment that emerged as semi-remembered, as
if in a dream.
As far as the great 'Hoffmeister' was concerned, it
was the Adagio that found the ABQ truly on home ground,
with moments of real magic. It provided the most intense
passages of all the Mozart, the sforzato-ridden finale
seemingly trying to forcibly shrug off the preceding
internalizations. Yet there was humour here, too,
as cheekiness surfaced in the first movement.
Bartók's final quartet (1939) was the composer's
last major work before he headed for New York. All
of its movements begin with a section marked 'Mesto',
a feeling encapsulated by Charisius' wonderfully emotive
opening lament. The ABQ's attention to detail was
near-miraculous, for the blending of the ensuing chords
subtly highlighted the viola's role. If the second
movement's Marcia could have been more of a nightmarish
parody, other elements in the quartet did tend towards
the outrageous (especially some very Soldier's Tale-like
passages). The Sixth Quartet requires – and
received – huge concentration. It seems the
ABQ is incapable of the routine, and maybe it is that
that more than anything keeps the crowds coming.
Colin Clarke
