Schubert, Brahms: Stefan Vladar (piano) Jerusalem String Quartet. Wigmore Hall 10.9. 2007 (CC)

 

I am unsure whether it was the Jerusalem Quartet or Vladar that has the following, but this Monday evening concert was all but sold out at the Wigmore; I suspect the Jerusalems to be responsible as the Monday lunchtime concert they gave in 2004 was similarly well attended. And, just as was the case three years ago, the enthusiasm of youth formed the core of all they did.

Schubert's Death and the Maiden Quartet is a huge interpretative challenge for any ensemble, given its performance history and the glut of fine recordings. The Jerusalem Quartet's interpretation was definitely of our times, with plenty of give and take within a fairly strict pulse. There was an unrelentingly questioning aspect to the first movement (which included some startlingly glacial passages); the second movement, the famous Variations, began in an emaciated fashion, while the first violin in the first variation brought to mind Beethoven's 'gekemmt' indication in his Op. 130 Quartet.Virtuosity forms an integral part of the Jerusalem Quartet's expressive armoury and was most manifest in the vim of the Scherzo and in the true Presto of the finale, where the quicksilver reactions of the players to each other was quite remarkable. This was very much a performance of our time, shot through with youthful vigour and the spirit of discovery.

The equally young pianist Stefan Vladar (who has already recorded for several major labels) joined the Quartet for the Brahms F minor Piano Quintet, Op. 34 after the interval. The choice of just two hefty chamber works for the concert prgramme was fully vindicated. Again, the voice of youth spoke in the relentless quality of the initial Allegro non troppo, but Vladar emerged as rather literal. More, the lowest dynamic we heard was mezzo-piano and the louder end of the scale regularly overloaded the Wigmore acoustic. Literalism again touched the beautiful Andante un poco adagio, but at least we heard what approached a true pianissimo. The Brahmsian angst of the Scherzo suited the group of players well, though (tons of energy). The finale was perhaps most impressive. The opening was so emaciated it sounded like Shostakovich, and the movement as a whole contained the most touching moments of the entire evening. There was much to admire here, although both works in truth sounded like interpretations in progress.

 

Colin Clarke

 

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