SEEN AND HEARD INTERNATIONAL

Zemlinsky, Debussy, Liszt, Ravel and Rachmaninov: Cavaleri Quartet (Anna Harpham and Ciaran McCabe (violins), Ann Beilby (viola), Rowena Calvert (cello)), Meng Yang Pan (piano), Wigmore Hall, London, 6.12.2010 (BBr)

Zemlinsky: String Quartet No.4, Suite, op.25 (1936)

Debussy: Images, Book 2 (1907)

Liszt: Rigoletto: paraphrase de concert (after Verdi) S434 (1859)

Ravel: String Quartet in F (1902/1903)

Rachmaninov: Piano Sonata No.2 in B♭ minor, op.36 (1913 rev 1931)

A couple of weeks ago the Cavaleri Quartet gave the Zemlinsky and Ravel Quartets in the big, and reverberant, space of St Martin–in–the Fields, where we heard well thought out and intelligent interpretations of these two great works. In the better acoustic of the Wigmore Hall we heard brilliant, powerful and insightful performances from the same players. That these works are close to the performers’ hearts goes without saying for their advocacy is paramount. From the wild and disturbed world of Zemlinsky, about to forsake Europe forever, only to find poverty and neglect in the New World, to the warm, even sunny, climes of Ravel’s Fin de siècle Paris the Cavaleri Quartet was totally at one with the composers.

Zemlinsky’s Quartet comprises six brief movements which include a fierce, and almost vicious, scherzo – including some incredible pizzicati – a haunting set of variations, a dramatic intermezzo and a double fugue to top it off, all in the space of some 25 minutes. Tonight’s performance was obsessional, nothing was left to chance, every nuance was clearly determined in advance so that the music could be experienced as the dynamic, passionate and thrilling creation it is.

Ravel’s Quartet is a different matter entirely, and the Cavaleri delivered a young person’s performance – it is, after all, the work of a young man – which emphasised the intense lyricism of the music. They achieved a chaste beauty – and the most miraculous pianissimo – in the slow movement. The finale was all fire and spirit. Both works received performances which transcended mere music making, this was real communion with the composer. Until tonight, I had two young Quartets in my pantheon of those to watch – the Barbirolli and the Sacconi – now I have three.

Meng Yang Pan started her first contribution to tonight’s show with the most thoughtful, caring and exquisite account of Debussy’s Second Book of Images. Indeed, so fine was her performance that time seemed to stand still in the middle of the three pieces - Et la lune descend sur le temple qui fut – so perfect was her understanding of Debussy’s otherworldly fantasy. Her shading, use of tone colour, and the most brilliantly clear and precise placing of the music in the highest register was a real joy to hear. After this, Liszt’s virtuoso Rigoletto paraphrase seemed just so much hot air; and no matter how well she played one knew she had the technique, but it was her thoughtfulness which we craved. To end the show she gave a stunning performance of the revised version of Rachmaninov’s Second Sonata. Here time rushed by in a torrent of heightened ardour, and whirlwind virtuosity. This is troubled music, perhaps Rachmaninov’s only work in a brief Strum und Drang period, and even in the slow movement the disruptive elements seemed to be lurking there, waiting to burst out, which they did in a finale of breathless fervour, only to be thwarted by an emphatic major conclusion. A marvellous show.

Bob Briggs