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SEEN AND HEARD UK CONCERT REVIEW
Mozart, Erwin Schulhoff and Schubert: Henschel String Quartet, Hoylake Chamber Concert Society, Westbourne Hall, West Kirby, Wirral, 21.01.2011 (MC) Mozart: String Quartet in B-flat major K.458, ‘The
Hunt’ (1784) Erwin
Schulhoff: String Quartet
No.1 (1924) Schubert: String Quartet in D minor, D.810 ‘Death and the Maiden’ (1824) Henschel String Quartet: Christoph Henschel
(violin) Peter Clemente (violin) Monika
Henschel-Schwind (viola) Mathias
Beyer-Karlshøj (cello) This recital by the Munich
based Henschel String Quartet was one of those rare concerts that I didn’t want
to end. Adding to the appeal was a cleverly devised programme of familiar and
unfamiliar music with contrasting styles, spanning a hundred and forty years. It has been a rewarding experience
following the burgeoning career of the Henschel Quartet unquestionably one of
the most distinguished on the scene today. Consisting of three siblings and
their long-time friend many quartets would have been left reeling from
having to make a late replacement for regular second violinist Markus Henschel. Stepping into the breach so
capably was Peter Clemente of the Clemente Trio from Munich. After such a
setback one can only guess at the amount of preparation that was required by
the quartet to perform at such an elevated level. The opening work
of the evening, Mozart’s popular String Quartet, K.458 known as ‘The
Hunt’ was played with the craft and assurance that I have come to expect
from this ensemble. Outstanding was the welcoming charm they wrapped around the Menuetto and the rapt intensity injected in the ebullient closing
movement Allegro assai. One of many
victims of the Nazi holocaust the Prague born composer Erwin Schulhoff was
killed at the Wülzburg concentration camp, in Bavaria. Virtually forgotten
Schulhoff is a major twentieth century composer who is beginning to get the
recognition that he deserves. The Henschel, who are doing sterling work
championing Schulhoff’s music, elected to play Schulhoff’s String Quartet
No.1 from 1924. Undoubtedly presenting some challenges for the general
listener the rewards of this remarkable work are well worth the extra degree of
concentration. Holding the attention with an iron grip the second movement Allegretto
con moto was as much a visual experience as well as a listening indulgence.
I was struck by the myriad of fascinating often ethereal technical effects
together with contrasting melodies ranging from the glorious to the grotesque.
Vitally rhythmic, Slovak folk rhythms infuse the third movement Allegro
giocoso alla slovacca played with supreme confidence by the Henschel who
savour every note. A much loved
staple of the chamber music repertoire, Schubert’s String
Quartet in D minor, D.810 ‘Death
and the Maiden’, closed the recital. By 1824 Schubert had become aware that
he was seriously ill and the spectre of death seems to hang over the score. In
the opening movement the Henschel displayed the essential elements of strength
and defiant high drama. With the Andante a theme and set of variations based on Schubert’s
song ‘Death and the Maiden’
the players shroud the gentle beauty of the writing with a liberal covering of
melancholy. Swirling like a dance of death the short Scherzo contained
torment and menace. Unremitting in its driving rhythms and energy the Henschel
bring the Rondo, Finale to its electrifying and exhausting
conclusion. To have played an encore would have served only to break the spell. Noticeable
throughout was the astonishing unity of the Henschel that allows broad dramatic
contrasts replete with fine detail. Showing remarkable conviction and supplying
intensity and ardour in rafts Christoph Henschel is one of the most exceptional
quartet leaders around. Michael
Cookson
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