The Chiara String Quartet Bring Their Hauntingly Intuitive Bartok Cycle to Bargemusic
What was the crowd like at the Chiara String Quartet‘s exhilarating, intuitive performance of the first half of the Bartok cycle at Bargemusic Friday night? Lots of young people. For that matter, the audience skewed young and old: twentysomethings and fiftysomethings, Generation X being more or less absent. Then again, that’s not surprising: the best legacy that demographic’s been able to muster is “hipster irony.” And the concert sold out, quickly, reaffirming that if Lincoln Center was in Brooklyn, it would be a hotspot. The more simpering, insipid twee-ness poisoning the neighborhood, the greater the backlash, and there is no more satisfying emotional home for that backlash than the music of Bela Bartok.
Ironically (in the genuine sense of the word), Bartok came from a ruling-class background. His music doesn’t critique speculation or gentification: to be antiwar and antifascist was more than enough fuel for his inimitably bleak vision. Gregory Beaver, the Quartet’s passionately eloquent cellist, shared his personal appreciation for Bartok’s own passion as a musicologist, someone who wasn’t content to merely appropriate peasant melodies: he went straight to the source, even if that meant all the way to Morocco. Beaver had a digitized copy of one of Bartok’s North African field recordings in his phone and played it for the audience, telling them to keep an eye out for it in the third movement of String Quartet No. 2. Sure enough, there it was for violinist Rebecca Fischer to voice with a vigorous but wary precision.
How did this performance compare with other ensembles’ interpretations? Those same qualities reaffirmed themselves again and again. As reference points, the Borromeo Quartet’s performance of Bartok’s String Quartet No.4 at Jordan Hall in Boston, and the Calder Quartet’s take of No. 6 (both of which were also on the bill here) at the Metropolitan Museum of Art last year each had a more anthemic quality than this group’s more intimate, minutely crafted versions. Then again, it’s possible that observation may be colored by the fact that Bargemusic is an intimate venue and those other two are not, and that the groups there may have been playing to those rooms’ sonics. Even so, it was riveting to watch Fischer’s and Hyeyung Julie Yoon’s violins build a marvelously mysterious, distant dust-storm ambience on the third movement of Quartet No. 6, or or to witness the ambered blend that Beaver and violist Jonah Sirota created in the final movement of No. 4. And the way the group negotiated the spiky, pungee-trap pizzicato of the third movement of No. 4 was a treat worth every penny of the $35 cover.
Speaking of which, the Chiara String Quartet return to Bargemusic on October 17 at 8 PM to play Bartok’s String Quartets Nos. 1, 3 and 5, which promise to be every bit as riveting. By the time the doors opened for last week’s performance, there weren’t a lot of seats available: since Bargemusic began selling tickets online, they go fast. Get ’em now while there are still some left – students and seniors both get a discount.
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