Heath String Quartet after their performance for nadsa concerts with sponsors Graham and Kerry Collins
nadsa Concert Review – Heath String Quartet
📍 The Courtenay Centre, Newton Abbot
🎻 Heath String Quartet – Maja Horvat (Violin), Sara Wolstenholme (Violin), Gary Pomeroy (Viola), Christopher Murray (Cello)
🎯 Sponsored by Graham and Kerry Collins
Programme
(performed in reverse order)
Ludwig van Beethoven – String Quartet No. 16 in F major, Op. 135
– Allegretto
– Vivace
– Lento assai, cantante e tranquillo
– Der schwer gefasste Entschluss: Grave, ma non troppo tratto (“Muß es sein?”) – Allegro (“Es muß sein!”)
Matthew Locke (c1621 – 1677) – Suite No. 3 in F
– Fantasia
– Courante
– Ayre
– Sarabande
Matthew Locke – Two pieces from The Tempest
– Curtain Tune
– Lilk
Interval
Grażyna Bacewicz – String Quartet No. 6
– Andante – Vivo
– Vivace
– Grave
– Dotted crotchet = 114
Robert Schumann – String Quartet No. 2 in F major, Op. 41 No. 2
– Allegro vivace
– Andante, quasi variazioni
– Scherzo: Presto
– Allegro molto vivace
Review
A near capacity audience, ranging in ages from 6 to 96, had a tingle-factor afternoon at the hands of the Heath String Quartet. No strangers to the best venues in London, Berlin or the USA, the Heath had raised our expectations high, before even a note was played.
Gary Pomeroy announced to the audience that the programme order would be reversed. An unusual event, but, since the printed order was neither chronological nor following stylistic forms, it apparently made little difference. However, it did place the Grazyna Bacewicz piece immediately before the interval, some might say giving us a chance to get over it, others, a chance to discuss it.
Right from the first few bars of the Schumann’s Allegro vivace, we had lovely interplay between the instruments with excellent tonality and tight contrasting dynamics. The Andante was an interesting walk, its recurring melody returning fresh each time, with occasional adept use of rubato. The final two movements progressed from fast fun to lively virtuosity, moving my thoughts from comfort zone to admiration.
Sarah Wolstenholme spoke to us about the lesser-known Polish composer Grazyna Bacewicz who was a violinist. Her compositions prioritised things that make players feel good, testing their limits. She used every technique she could think of. So, with Chopin’s etudes in mind [exercises that are enjoyable for player and listener], I wondered what the Heath would make of Bacewicz’s 4 movement quartet. We became immersed in a display of sonorism; a leap into a different world of experience where sonics are unfettered by conventional tonal melodic lines. But was it music? Having listened previously to a recording of this work I would not have called it music; however, somehow the Heath gave cohesion to a highly unusual collection of sounds giving it the legitimacy of musical form. Yes, that was music! Bravo to the Heath for placing themselves near the edge of technical vulnerability, and for challenging our musical complacency.
After the interval, Sarah spoke to us about the Matthew Locke [1621-1677] works originally written for viols. Now, played on modern instruments, techniques of bowing and tonality have to be pared back, and the focus of the music is very much on the composition. Immediately, with the lack of vibrato in the Fantasia of Locke’s Suite No 3, we had delicacy of interweaving melodic lines, followed by contrasting dynamics. There was no doubt his Courante and Sarabande were dances, but with courtly restraint and attention to the precision of that bygone era.
During the first movement of Beethoven’s Quartet No 16, the Allegretto, I noticed how integral the pauses were: as if the audience was being invited to participate. The Vivace provided a different dimension of lively emotion, but both movements felt a setting of the scene for the Lento. Here we had a legato line with superb restraint and varying dynamics that, without sentimentality, touched the soul. The pauses were moments for the audience to relish. This was musical drama of the highest form – even Wagner might have been impressed! Stunning. The final movement is very much a question – ‘Must it be?’ – and answer – ‘It must be!’ session. In the Heath’s rendition, the gravity of the question was there for all to witness. The final few phrases, preceding some pizzicato, left us still aware of the questions, but with quiet acceptance.
This concert was not only a credit to the Heath String Quartet’s performance; it also provided a kaleidoscope of musical styles and their techniques. A programme that contains mostly lesser-known works is unusual; we don’t have to go to London for inspiration, it’s here.
nadsa concerts, Sunday 18th January 3.30pm at The Courtenay Centre, Newton Abbot.
JRC
