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JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

The Borromeo String Quartet Do Some Foreshadowing on the Upper West

A Boston institution (and once a New York one during their two-year Lincoln Center residency a while back), the Borromeo String Quartet played Webern, Bartok and Beethoven with a warm familiarity and a soulfulness last night at the upper west side’s Music Mondays series. They know this material, and they get it.

Anton Webern’s Langsam Satz was the opening piece and was delivered with late-summer lustre, heavy on the vibrato. It’s basically an increasingly complex series of permutations on a simple, memorable four-note riff, making its way around the ensemble as it gently shifted shape. The Tschaikovskian second movement featured strikingly boisterous pizzicato phrasing from violist Mai Motobuchi, after which the group brought it back down to a warm cantabile mood.

Bartok’s Sixth String Quartet made a sharp contrast, and received a marvelously subtle treatment. This one doesn’t have the outright wrath of much of the composer’s work but it’s full of satire and a pervasive unease that quickly makes itself utterly inescapable. If Sartre’s Huis Clos had a soundtrack, this could be it. Cellist Yeesun Kim plowed deeply into the resonant introduction and brought the rest of the ensemble along as they alternated ominous atmospherics and slightly furtive embellishments. Violinists Nicholas Kitchen and Kristopher Tong built a distant whirlwind on the second movement; the third, a twisted dance, had alarms going off, signaling the approach of what appears to be a satirical version of the kind of pretty nocturne exemplified by the Webern. A series of perfectly precise violin overtones signaled in the completely counterintuitive, calm ending: seventy years later, Bartok is still a car-length or two ahead of most composers.

They closed with Beethoven’s String Quartet in F Minor, Op. 92. For the composer, it was something of a landmark, signaling the development of a wholly original sound, in the process shifting the paradigm away from the predictable call-and-response of Haydn that he’d emulated up to that point. It’s a clinic in tension between apprehensive, fiery, Vivaldiesque crescendos and smoothly swaying teutonic phrasing, darkly shadowed by its lower tonalities, and the quartet let those contrasts speak for themselves. In a way, it was the perfect piece to follow the first two because it synthesizes the emotional content explored by each: Bartok’s disquiet and Webern’s optimistic solidity. And like them, it ended warmly, in the style of a Bach cantata: a somewhat triumphant song without words that tacked an unexpectedly happy ending on after all foreshadowing to the contrary. With its brisk dynamic changes and fluid runs that border on the torrential, it’s not easy to play, but the Borromeos made it seem that way. The next Music Mondays concert at the dual-congregation church at 93rd and Broadway is December 13 featuring the Sospiro Winds plus violinist Miranda Cuckson and pianist Aaron Wunsch, playing music of Gyorgi Ligeti.

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November 9, 2010 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment