2x4

Two string quartets, one steamroller.  This was a lunchtime concert in the Juliet Room at Verity Lane and it was a great space with a responsive audience and a nice clean sound.  Other than the steamroller, but that's for later.  First up was Quatuor va Kuijk playing Mozart String Quartet K458 ‘The Hunt’.  It was mightily different from the French music we'd heard a few days before at the winery.  Mozart is just perfect of course, but so was the quartet: immense delicacy, huge dynamics, lots of eyes for effective communication, just the most correct intonations and passages passed with endless simplicity and aptness.  It was in this space with this music that I could feel this group.  Then something different, even if Haydn String Quartet op.76 no 5 apparently was written in response to 'the Hunt'.  Haydn was not so much a thing of Mozartian delicacy but of power and attack and strength.  It was such a different presence for the alternative quartet. But then that steamroller.  Verity Lane is in town and work is ongoing in the old Sydney and Melbourne buildings and sadly some was scheduled for this day.  Ya gotta laugh or otherwise you'd cry.  I'm sure AM didn't find it so funny but they carried on bravely and effectively and I can only admire their perseverence.  Still, a powerful and driven performance.  I was recording and expected to drop out the bottom end, but with a close mic it wasn't nearly so evident.  So the comparison of two quartets was fascinating and informative but not as reliable as it might have been.  But fabulous none the less.

Quatuor van Kuijk and Alma Moodie Quartet performed at Verity Lane for CIMF2023.  QvK comprise Nicolas Van Kuijk and Sylvain Favre-Bulle (violons), Emmanuel François (viola) and Anthony Kondo (cello).  Alma Moodie Quartet comprise Kristian Winther and Anna da Silva Chen (violin), Dana Lee (viola) and Thomas Marlin (cello).

Rustic folk

Of faeries and fools was the title of this concert and I could see the reference clearly in at least 3 pieces.  The sounds were different as the musical combinations were different and to some degree as the styles were different, but the performances were consistently impressive.  The works dated from after Grimm's Fairy tales (1812) and carried on some of the influences.  First up as Schumann with a clarinet trio (Oliver Shermacher, James Wannan nad Roland Peelman on clarinet, viola and piano) just stunningly sharply played all round.  Then piano (Roland again)and two vocals (sopranos Susannah Lawergren and Anna Fraser ) for Dvorak Moravian duets.  Now this reminded me of Schubert songs and that's a strange style to my ears, dated both in musical form and lyrical themes.  The lyrics were translated to English and projected behind.  I could only chuckle at the dated love songs.  But that's that style.  The singing and piano were great though.  Perhaps better without the meanings?  Then an interval and a ridiculously funny Janacek Nursery rhymes in Czech language.  Again lyrics translated and projected and and the absurdity was a delight.  Luminescence played this with James Wannan and Ronan Apcar.  Then to finish, a much larger ensemble playing Katz-Chernin Village idiot, a work in 5/4 variously 3-2 and 2-3 and a collapse of time at the end.  This was a much larger group with a Alma Moodie string quartet and Jacques Emery on bass and others including e-pno and e-guitar and piano accordion and percussion.  So a very different , more modern and humourous take.  A great finish.

Schumann, Dvořák, Janáček and Kats-Chernin were performed at the Fitters Workshop variously by James Wannan (viola), Oliver Shermacher (clarinet), Susannah Lawergren and Anna Fraser (soprano), Roland Peelman and Ronan Apcar (pianos), Theo Carbo (electric guitar), Fletcher Cox (trumpet), Jackson Bankovic (trombone), Aidan Gabriels (horn), Veronica Bailey (percussion), Alister Price (accordion), Jacques Emery (double bass), Luminescence Chamber Choir and Alma Moodie Quartet.