The Simón Bolívar String Quartet comprises section leaders
from the similarly-named Youth Orchestra of Venezuela. All male by
whatever coincidence, they here present a program of music from the
new and old worlds. It’s a little rough, but overall pretty
good.
Alberto Ginastera’s first quartet is a taut, tense work in three
very short fast movements and one mournful eight-minute aria. The
opening is frantic and raw, the scherzo is grimly playful and brings
us the ensemble’s best playing. The finale has a wonderful pizzicato
episode conjuring up all sorts of fascinating sound effects.
The two more familiar pieces are Dvořák’s
American
quartet and Shostakovich’s celebrated Eighth. The
American
is well-done, with a few moments of originality - I love the opening
bars. Throughout, there’s that extra dash of fire and energy
we associate with younger performers. Still, there are rough patches:
the opening bars I singled out for praise fall just shy of the standard
for quicksilver beauty recently set by the Pavel Haas Quartet. Throughout
the CD, Alejandro Carreño’s first violin can sometimes
sound harsh, either because of performer or recorded sound - his grandfather
is the notable composer
Inocente.
There’s a habit of speeding through the faster, louder bits
and slowing down big-time for the prettiest melodies, a habit you’ll
either like or hate.
Shostakovich’s edgy, exciting Eighth Quartet is another good
match for these performers, and they take a few more interpretive
liberties while overall keeping up their sharp attacks and youthful
fire. Again, I am not totally certain that they have all the technical
skills or tonal refinement to sustain their speeds; the second movement
is perilously albeit thrillingly close to the edge. Among recent recordings,
one by the Pacifica Quartet outclasses this in almost every way, the
group’s technical perfection making their interpretation all
the more harrowing.
The booklet notes do a good job of evoking the performers’ love
of the music, and I was amused to note that each singled out as their
favourite the work that gives them the biggest solo. The cellist is
conscious of this, pointing out that he would love the Ginastera even
without the cello melody in the slow movement.
All in all, this is a promising start to a string quartet’s
career. I look forward to hearing more from them. That said, among
rising quartets from North and South America, the Simón Bolívar
players don’t necessarily merit greater attention than the Pacifica,
Jasper, Parker, Cypress or Cecilia String Quartets.
Brian Reinhart
Masterwork Index:
Dvorak
American quartet ~~
Shostakovich
quartets
