The Brentano Quartet Come to Music Mondays
It’s easy to be cynical about classical ensembles parading out the same old repertoire again and again, but when a group the caliber of the Brentano Quartet shows up a local hotspot, all cynicism goes out the window no matter what’s on the bill. Our trio of the most curmudgeonly fans you could imagine were unanimously awed by the group’s performance at the church space at 93rd and Broadway where Music Mondays puts on a monthly program which rivals any other in town for both quality and adventurousness. The curmudgeons agreed that the performance of Louis Andriessen’s …miserere… was the most enticing and bracingly delicious, although there were other treats on the menu. The stately melodicism of the introduction doesn’t sound like Andriessen, because it isn’t: the composer based this particular set of variations on the famous Renaissance choral work by Allegri. Violinists Mark Steinberg and Serena Canin, violist Misha Amory and cellist Nina Lee unwound its stark, simple, astringent motifs spaciously, handled its frequently tricky rhythms with aplomb, alternating between harmonium-like ambience and lush yet acerbic permutations on an octave a la Philip Glass.
The rest of the program was more familar but performed with a blissful confidence, whichever emotion or approach the ensemble chose to take. A buttery, sleek Schubert Quartettsatz was the opener, viola and cello spinning in tandem seamlessly on the cadenzas. Their take on Haydn’s final, unfinished String Quartet, op. 103 was a revelatory contrast. So much of Haydn’s repertoire relies on familiar tropes that after awhile become practically indistinguishable, but the Quartet’s rustic approach to the andante was inviting to say the least, and they brought out an unexpectedly vivid ache in the minuet. And then they followed with the somewhat more muted angst of the unfinished chorale which would be Haydn’s final work. That the closing piece, a richly vibrant performance of the Debussy String Quartet, could possibly be anticlimactic testifies to how captivating the program had been up to this point. Working methodically from Lee’s deeply rooted cello, they gave the first movement an unrestrained joy, found the inner dance in the second and romped through it, reveled in the ambric low treble harmonies in the third andantino section and finally took it out on the same joyous note they’d established early on. The crowd, a sold-out house from the looks of it, wished openly for an encore. Word is out: what started out as a local scene here has quickly earned a citywide audience.
The next Music Mondays concert is January 9 at 7:30 PM with the renowned conductorless East Coast Chamber Orchestra; you’re advised to get there early.
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