Date: Fri 08-Nov-1996

Publication: Bee

Author: SUEZ

Illustration: C

Location: A12

Quick Words:

Brentano-Mozart-Beethoven-NFoM

Full Text:

(rev Brentano String Quartet concert for NFoM, 11/8/96)

Concert Review-

All In The Eye Of The Beholder...

(with photo)

BY JUNE APRIL

It is always fascinating that people can experience the same event and come

away with totally antithetical responses. Sometimes, when I read theatre

reviews by other writers, I wonder if we saw the same play. So it was last

Sunday, November 3, with the Brentano String Quartet's interpretation of

Mozart's Quartet No. 16 in E flat Major, K. 426 . The quartet's performance

was the second of the 1996-97 series of classic music concerts presented by

the Newtown Friends of Music.

To this reviewer, the rendition was richly textured, portrayed with the

clarity of Haydn's genius. Mozart's deep respect for the famous composer is

abundantly clear in that he labored over six quartets for a four-year period,

beginning in his 25th year.

Mozart usually wrote his music "full blown," sans alterations. These quartets,

on the other hand, were rewritten and reworked; they were Mozart's personal

tribute to Joseph Haydn. In fact, Haydn's musical essence was strongly

evidenced in the third movement, the "Menuetto."

However, a staunch NFoM supporter had other ideas: she proclaimed the Brentano

Quartet played "ponderously" and that a performance by the Tokyo String

Quartet was more in keeping with Mozart's style. How appropriate the old

saying, that beauty is in the eye (or ear...) of the beholder.

Nevertheless, the passion of the four musicians was tempered to the style of

music they performed.

Proponents of contemporary music, it was important to the quartet the audience

relate to what they performed. Therefore, before playing the second piece,

Alan Berg's Lyric Suite , violinist Mark Steinberg explained some of the

composition's background.

"I hope the audience finds something they can then relate to," he declared

earnestly in a post-performance conversation. "Not everyone appreciates

contemporary music, but we hope by sharing some facts and information, they

can at least find something to listen for."

Mr Steinberg pointed out that Berg used this composition as a means of

expressing his emotions. A love affair - its joy and its demise and the pain

of the parting - is captured in the six segments: joy, love, ecstasy, passion,

pain, and finally desolation. It was all there, intuitively felt.

Berg did "revolutionary" composing, using not only the 12 tonal scale

"created" by Arnold Schoenberg, but "bowing with the wood of the bow" and

"hitting the violin strings" - not the traditional, horsehair on string -

approach.

The second half of the afternoon was filled with the classic tones of Ludwig

van Beethoven. A mature composer in his mid 50s when he wrote Quartet No. 13,

B flat Major, Opus 130 , this was an appropriate choice by the quartet. Like

Berg, Beethoven's music dealt with feeling, emotions and intensity. Each of

these composers led musical development into new explorations of musical

composition and expression.

And expression and passion are words that fit the commitment felt from the

Brentano Quartet. Though they have only been together four years, the quartet

has already received awards and international recognition. There are those who

found their musicianship technically outstanding, but passionately lacking. It

seemed we were not hearing the same music.

Violist Misha Amory, and violinists Steinberg and Canin studied together at

the renowned Julliard School of Music. They enjoyed one another's company as

well as finding themselves compatible in their musical taste and philosophy.

When seeking a cellist, Curtis Institute graduate Michael Kannen added that

rich deep tonality that makes string quartets such a joy to hear... So came

the creation in 1992 of the Brentano String Quartet.