|
CHAMBER MUSIC REVIEW Standing Tall, Gains and Losses October 6, 2002
Emerson Quartet
|
By Nikki Buechler
Why fix something that isn't broken? I refer to the
experiment on the part of the Emerson String Quartet,
ongoing since January of this year: they are standing
instead of sitting, with the exception of cellist
David Finckel, of course. The effect was such that the
new “standing” version of the Emerson seemed an
entirely different group altogether. Their
mid-afternoon performance at Dinkelspiel Auditorium on
Sunday brought the audience to its feet,
too, after the pyrotechnics at the end of Schubert's
Death and the Maiden.
In standing, however, what the Emerson gained in
individual freedom of expression, they lost in
direction and unity. They even look less organized
when they stand, as if leg and body movements of the
individual players somehow detract from the visual
communication of ensemble to the audience. Though the
expected level of technical ability was not
compromised, and on a microscopic level their
precision was still impeccable; each member stood out
as an individual. Where this was important, such as
during the viola solos that occur with regularity in
Smetana's String Quartet in E Minor, From My Life, or
within sections of simultaneous contrasting color in
Janáček's String Quartet No. 1, the players were able
to demonstrate much more engagement with their
individual parts, and each other, much more than if
they had been sitting. In moments where a unified
approach was necessary, their effect was not as
convincing.
Though the group's colors and artistic decisions
concerning texture in both the Smetana and the Janáček
were appropriate and highly satisfying, especially in
the first movement of the Smetana quartet which was
highly expressive and suitable to the phrase-oriented
nature of the music, some moments seemed overplayed.
Some of violist Lawrence Dutton's viola solos seemed
somewhat forced, an unnecessary consequence, owing to
his sheer presence in the group. Since he took full
advantage of his ability to turn to completely face
the audience, it was impossible to miss his moments.
He did this while sitting too, back when the group
sat, but this was more noticeable.
The Janáček Quartet is episodic, in some parts schizophrenic, though each movement has an overarching shape or feature. Large gestures and energy proved very effective in exaggerating distinctions between foreground and background, though in places where a conversational aspect was emphasized, such as within the first movement, their interpretation was somewhat less convincing. The work presents significant technical obstacles for a group, but these are not an issue for this group. The expression on cellist David Finckel's face seldom wavered, and in many moments his smile revealed genuine enjoyment. It is relaxing to watch him perform. He somehow produces an enormous sound without appearing to make any effort whatsoever, and plays with enviable finesse. Schubert's Death and the Maiden quartet is a marathon, with technical obstacles. The Emerson Quartet's interpretation convinces, and while more dynamic contrast could have been offered, particularly in the first movement, the group's direction and commitment could not be faulted. In the chorale-like section of the second movement, the players approached a texture of transparency through matched bow speeds and non-vibrato that had not been explored during the entire concert until that very moment, and the effect was wonderful. Even though the standing vs. sitting question may prove the subject of debate, the Emerson is still the Emerson, and this was a worthy performance. A couple of unfortunate incidents involving a baby, that should have been foreseen by the ushers, were resolved in the intermission, but not before a couple of poignant moments of the previous two pieces had been interrupted by crying. Though the Emersons coped admirably with the disturbance, they shouldn't have had to, and certainly not twice.
(Nikki Buechler is a PhD student at the music
department at Stanford University. She has a Master's
degree from St Catherine's College, Oxford, and spent
5 years working as a viola player in chamber groups,
orchestras and as an occasional soloist in London,
England.)
|