Portland String Quartet
Woodfords Congregational Church
Dec. 4, 2016
by Christopher Hyde
One of the high points of my musical experience was hearing the Bolivar Symphony Orchestra under Gustavo Dudamel, play Stravinsky’s “Rite of Spring” at the Teatro Colon in Buenos Aires. The young musicians, graduates of Venezuela’s El Sistema, not only played as well as any major symphony orchestra in the world, but brought an entirely new level of dedication and excitement to the work. No one has ever performed it better.
Thus I was looking forward to hearing violist Jesus Alfonzo, a founding member of El Sistema, play the Brahms String Quintet No. 2 in G Major, Op. 111, with the Portland String Quartet, which has had a close relationship with the Venezuelan program since its beginning.
I was not disappointed. The musicians seemed inspired by the presence of Alfonzo to breathe new life into one of the most popular works in the chamber music repertoire.
Every movement threw off sparks. My notes on the first included “starlight in the park, with distant fireworks,” and an exclamation point about how much Richard Strauss had learned from Brahms.
In the second, Adagio, there was a pianissimo moment when every musician seemed as intent upon listening to the others as a cat in front of a mouse hole. Pardon the simile, but I could think of nothing else having such an immediate physical intensity.
The valse triste of the Poco Allegretto inspired not only Sibelius, as mentioned in the program notes, but also the slow movement of the Ravel piano concerto for the left hand.
The final movement emphasized the surprise occasioned by a ferocious gypsy dance tacked on to the penultimate bars of a relatively decorous development section-—almost as if Brahms had said to himself “This is going to be my last work, so the hell with it. I’ll include a fragment in memory of my misspent youth.”
I have complained about almost everyone’s interpretation of Brahms. This was a notable exception.
Whether intentionally or not, the PSQ coupled this work, by a composer who never wrote an opera, with a quartet by Verdi, who wrote just one purely instrumental work, and the Lyric Quartette (1960) of William Grant Still (1895-1978) an African-American composer who wrote both.
Unfortunately, I missed the Still quartet, but arrived in time for the Verdi String Quartet in E Minor (1873). It still seems more of a curiosity than a serious piece of music, almost a pastiche of tunes held together by a slight framework (rather like an opera?). The exception is the final Scherzo-Fugo, Allegro assai mosso, in which the composer proves, like others before him, that he can write a classical fugue, but then manages to turn it into a rather savage practical joke. As was the case with the Brahms, the PSQ made the most of it.
Christopher Hyde is a writer and musician who lives in Pownal. He can be reached a email@example.com.