Overview

The Danish Quartet’s Search for Beethoven Style

In recent years, the young Danish Quartet has secured a devoted international following. There is little surprise here: they exude a uniquely Scandinavian sense of discovery and charm but, more tellingly, have a lovely, warm sound, play with natural ease and thoughtfulness and have a keen eye for beauty. Moreover, they create intriguing concert programmes, often mixing explorations of the deepest classical repertoire with affecting adaptations of Danish and Norwegian folk tunes. The ‘art of the fugue’ and the links between Bach, Beethoven and Shostakovich have figured centrally among their themes and have been explored in their recent ‘Prism’ series: the first (of five) volumes has now been released on ECM. The folk tunes have come in the albums ‘Last Leaf’ and ‘Wood Works’.

This concert mixed two Beethoven quartets with another round of engaging folk tunes and, on the surface, suggested a most pleasurable experience. Yet it also revealed some of the limitations of the ensemble’s approach to Beethoven: in their quest to expose tonal beauty and unearth passages of deep emotional suspension, they unwittingly smooth over sharper, more complex dimensions of the composer’s expression. A coating of unwanted sentimentality seems to fill this gap, increasingly so as one moves to the later quartets. Perhaps the group just loves Beethoven too much – but it is apparent that no amount of reverence or romantic adornment will conquer the later quartets. Here the early Op.18 No.4 was nicely realized but, as in their previous traversals of two late quartets, it was the Op.74 No.10 (‘Harp’) that produced the red flag – extended romantically in a way that compromised the purity of the work’s line. Nonetheless, an ample selection of Nordic folk tunes (played between the two works and in the encores) did much to create positive energy, and one really had to marvel at the quartet’s skill in using (largely) vibrato-less articulation to find beautiful moments of innocent feeling alongside foot-stomping rustic rhythms.

In reviewing the Op.131 No.14 quartet in 2014, I lauded the ensemble’s tonal beauty and sensitivity but noted: ‘The writing’s stark boldness and its frequent risk-taking in both tempo and dynamics never really took hold to transport us to different places – as if the ensemble believed that the sacredness of the initial fugue would be diminished if they pushed strongly into the more aggressive, jagged regions’. And again in 2016, for Op.127 No.12: ‘…their Beethoven once again did not seem to hit the composer square on: the approach was just too smooth and cultivated to capture either the myriad of conflicting forces and tensions operating on the composer in his last years or the raw iron in his response to these realities’. I have no distaste for beautiful performances of Beethoven: the classic Quartetto Italiano gave tonally ravishing and perceptive accounts of these works, but I never felt them too ‘soft’ or remotely sentimental. It is also interesting that in the two concert pairings of Beethoven and Shostakovich above, I always thought that the Danish ensemble was more successful in Shostakovich.

The bounty at this concert was the performance of Beethoven’s early Quartet No.4, which was cunningly thought out and moved forth with energy and perceptive detailing. The opening Allegro had greater structural breadth and warmth than more mercurial treatments, but the sense of dynamic contrast and the balance between carefree frolic and dramatic assertion were achieved convincingly. There was one passage where the ensemble dropped to pianissimo for a greater penetration of the work’s undercurrents, but it was effective, given the impassioned response at the movement’s end. Attractive rhythmic point and playfulness distinguished the Scherzo, with sensitive articulation in the contemplative reaches of the Andante. The Minuetto offered similar attractions, finding effective lyrical expansion and conversation in the Trio. The rondo finale mustered full Haydnesque drive, moving with virtuosity and rustic flavour and bringing the work home with excitement. This was distinguished playing, securing overall coherence and offering a greater variety of shadings than we normally hear.

I have always regarded the ‘Harp’ Quartet as a breath of fresh air between the richer romantic sentiment of the Razumovsky quartets and the significantly more impassioned Op.95 No.11 (‘Serioso’). It doesn’t offer an experience as intense as either but has a unique crystalline beauty all its own. It’s unfortunate that the Danish Quartet tried one of their experiments here, for the performance did not start that well. The poco adagio was given fairly extended treatment, but the bigger concern was that the allegro did not operate in long enough paragraphs and failed to suspend all the pizzicati with their characteristic delight. This playing seemed slightly burdened, having less verticality than it might. The Adagio extended the problems, as it was inflated to Brahmsian proportions at a very measured speed. It is not clear why a group would aim for this scale – expanded emotional depth? – and it was disturbing to hear this movement pushed to a type of rich burnished melancholy that was identical to that of Brahms’ String Quartet No.2 in A minor Op.51. The sentiment didn’t fit. The violently inflected rhythms of the Presto took one a little off guard, but here the experiment seemed to be to establish a link to the more visceral drama in Op.95. It was too rushed, and the leader sacrificed the lyrical reach in his phrasing. Beethoven writes so well in the Theme and Variations form that one always looks forward to the ingenuity of a finale written in this form. The quartet closed the movement with a natural synergy, but it took them a while to get going: other instances of Brahmsian heaviness and items like arbitrary references to the ostinato passages in Op.59 No.3 figured in the earlier exposition. It is a beautiful work as it stands, and there is no need to supplement it with this type of musical travelogue.

The attractive folk encores put Beethoven well behind us, and the ensemble is now on sabbatical for six months – all was well. Fortunately, sabbaticals are also good for re-evaluating how one should approach Beethoven’s later quartets: the plus here was the Op.18 No.4, but that is easier to negotiate. While I found the Op.127 and 131 rather beautiful but soft in previous concerts, this Op.74 was neither particularly beautiful nor stylistically convincing. Food for thought indeed.

 

 

 

 

Overview

Danish String Quartet at UCSB

Clearly in a jocund mood after Tuesday’s program of Nordic folk songs, the Danish String Quartet arrived at Campbell Hall on Wednesday, February 14, poised to enter fully into the music of two of their greatest national composers, Hans Abrahamsen and Carl Nielsen. The group, which consists of Frederik Øland, violin, Rune Tonsgaard Sørensen, violin, Asbjørn Nørgaard, viola, and Fredrik Schøyen Sjölin, cello, has risen to the top of the classical charts with a pair of exciting, innovative recordings of original arrangements of folk music while still managing to wow audiences and critics alike with their programs and recordings within the traditional classical repertoire.

The opening piece, the String Quartet No. 25 in C Major, Op. 20, No. 2 of Joseph Haydn, allowed the players to revel in the kind of carnivalesque moments that Haydn so often smuggles in to the classical forms of which he is considered to be the great visionary father. It also effectively anticipated the wandering moods and modes of the following work, Hans Abrahamsen’s String Quartet No. 1, “Ten Preludes.” Anchored by segments clearly designed to establish the composer’s neo-classical bona fides, the piece was at its best when it strayed furthest from tradition. A long, driving raga-like movement oscillated in the mind like the tolling of some strange bell.

The third quartet of Denmark’s most revered musician, Carl Nielsen, felt like coming home when the musicians returned to the stage after intermission. Subtle displays of virtuosity, like the brilliant solo for viola that ended the Andante second movement, floated free from the moving surface of the work’s complex harmonies only to be submerged again by organ-like chords. After this stunning example of unparalleled connection between a group and a composer, all that was left for the DSQ to do was to send us home with a Nielsen holiday song: a little bit of Christmas in February. After this stunning example of unparalleled connection between a group and a composer, all that was left for the DSQ to do was to send us home with a Nielsen holiday song; a little bit of Christmas in February.

Link to article here

 

Overview

Danish String Quartet thrills with superb performance in inaugural weekend of La Jolla Music Society residency

The game was afoot Friday evening at The Auditorium at TSRI as the Danish String Quartet superbly played a thoughtful concert whose first half examined the classical music tradition of hunting music and whose second explored a quartet by their fellow countryman, Carl Nielsen.

Nielsen’s “String Quartet No. 1 in G minor, Opus 13” was written before he became the Carl Nielsen we think of today. It’s a late Romantic work whose rustic scherzo gives us a taste of the later Nielsen. The Danish String Quartet performed it with passion, humor and force.

Thank the La Jolla Music Society for bringing them to San Diego for a three-year residency. Their uncanny unity of ensemble and tone, matched to an intellectually stimulating and musically compelling programmatic sensibility, has made them one of the premier string quartets of their generation.

Grace and technical expertise reigned in Haydn’s “String Quartet in B-flat Major, Opus 1, No. 2” and Mozart’s “String Quartet in B-flat Major, K. 458.” Neither Mozart nor Haydn gave these quartets the nickname “The Hunt,” but their first movements do suggest horn music that contemporaries could have heard at stag hunts.

The high point of the concert, however, was Jörg Widmann’s “String Quartet No. 3,” subtitled “Hunt-Quartet.” On the surface it was a modern consideration of tropes heard earlier on the program. The horn-like melody, the simple tonic-dominant harmonies, and the vigorous 6/8 rhythms evoked the hunting music genre that Haydn and Mozart utilized — consciously or not — in their string quartets. The open-stringed double stops in all four instruments suggested the rugged, unruly sounds of outdoor horns.

Dig a little deeper, though, and you’ll find that the four-bar phrase obsessively repeated or hinted at is a quote from Robert Schumann’s “Papillons.” This quote certainly sounds like hunting music, but there are two more levels here. Schumann was quoting a well-known folk tune called “The Grandfather’s Dance,” implying old traditions. Schumann again quoted the tune in “Carnaval,” where it represented cultural Philistines. Widmann quoted a quote of a quote.

Widmann’s use of historical material does not imitate or nostalgically evoke the past. He takes a quotation and slams it against modern harmonies and extended string techniques such as scraping bow noises, snapped pizzicatos and unstable glissandos. He strips away centuries of cultural grime, rips apart the original and brutally examines it. It’s clear by the end of “Hunt-Quartet” that the jolly old fox hunt is cruelly sadistic.

Stag or fox hunting with horns was associated with aristocracy, a connection that still exists. Elsewhere Widmann has written about a “triple crisis” facing humanity, namely eco-disaster, uncontrollable finance systems and an increasingly unstable geopolitical structure. We now doubt basic assumptions of our society. “History,” he writes, “is moving rapidly beyond its all too hastily proclaimed end.”

There is a very strong theatrical component to “Hunt-Quartet.” The players whip the air with their bows like riding crops, yell out hunters’ cries, and in the end, three players form a musical alliance and turn against the cellist, resulting in his implied death. This scapegoating is, in Widmann’s words, “an analogy to social patterns of behavior.”

Artists are often viewed as prognosticators, culturally peering into what may lie ahead. Take a look at our global crises today and consider that Widmann wrote “Hunt-Quartet” 16 years ago.

Link to article here

 

 

 

 

 

 

 

 

Overview

Danish String Quartet

It’s no easy matter for a string quartet to acquire that rock-star vibe, especially for an ensemble that still keeps one foot firmly planted in the traditional chamber repertoire. But the Danish String Quartet has it, making the group’s every local appearance a special event.

You only have to hear the ensemble play to understand what’s going on — why audiences keep flocking to witness the combination of gritty energy and expressive urgency that these four musicians put on display. Their playing is smart, soulful and often profound.

For its upcoming visit to Berkeley, courtesy of Cal Performances, the program features familiar fare by Haydn, Webern and Beethoven. But that doesn’t mean the results will be ordinary.

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