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CHAMBER MUSIC REVIEW
A Quartet Minus One, Plus Piano
May 19, 2002
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By Nikki Buechler
If there were ever a piece for which there should be a warning: "may
require tissues," it would be Dvorak's emotional roller coaster disguised
as chamber music: the Piano Quartet in E flat Major, op. 87. The work
explores keys and effects such that it feels like it was an experimental
effort on Dvorak's part, calculated to achieve maximum emotional impact on
its hearers. Sunday's concert at Kohl Mansion, May 19, 2002 was meant to
feature the Rosetti String Quartet. Instead, the packed hall was
entertained by three of its members, violinist Henry Gronnier, violist
Thomas Diener, and cellist Eric Gaenslen, plus pianist Sara Davis
Buechner. Although I was initially disappointed by the change in
personnel, there ended up being no hard feelings.
Beginning with Beethoven's Quartet for piano, violin, viola and cello in E
flat Major, Op. 16, the group played with commitment and passion. A few
intonation problems were evident, especially in unison passages with the
piano, but given that intonation is an inherent difficulty with this
instrumentation, it is almost expected. The group achieved excellent
balance, and seemed to have no problem with direction. Lyrical passages
were beautifully phrased, respecting the natural shape of the music. This
was particularly noticeable in the second movement, where the dignified
piano opening set the stage for warm and reflective passages from the
string players. The piano holds the key to many of the transitions in this
work, and Buechner's sensitivity to this meant that each one was carefully
placed, and not rushed.
Second on the program was Beethoven's Serenade for violin, viola and cello Op. 8. As a general rule, it is usually advisable to avoid having a smaller group follow a larger, as the absence of the piano for the second work will inevitably affect the impression of fullness. Perhaps it was the longer than usual break between pieces, but the trio was sufficiently rich and full that it did not seem to be adversely affected by its placement in the program. The group performed this long and complicated work with humor and spice. They interacted with the audience, and each other, in such a way that they demonstrated their comfort and experience. Although a couple of intonation issues were also evident on occasion in the trio, they seemed to be localized. Strangely, this group seems able to have perfect intonation most of the time, but just occasionally it will break down for a few bars. This, and occasional non-matching of tone color between the violin and the rest of the group, were the only subtle problems, and these were not enough to affect the overall quality of the performance. Dvorak followed the intermission. Given the intensity of the work, the Rossetti members should be commended for their stamina, if nothing else. Their commitment did not waver for a second, nor did they show any signs of fatigue. This work itself is concise, concentrated and very dark in places. Every time a lighthearted theme appeared, it was quickly affected by something disturbing, in such a way that the listener is almost never comfortable. Many times during the second movement, Lento, I felt my hair stand up on the back of my neck, and it wasn't the air conditioning. I observed many audience members touching their eyes. It is an absorbing piece, and it was excellently performed. The Great Hall is a tricky environment with an incredibly high ceiling and rectangular shape. Despite the potential difficulty, the group seemed to have no problem with articulation or clarity. The Dvorak was especially memorable, both for its composition, and the group's sensitive and satisfying execution.
(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.) ©2002 Nikki Buechler, all rights reserved |