Above: the Takács Quartet, photograph © Amanda Tipton. From left, the players are Edward Dusinberre, violin; Geraldine Walther, viola; Harumi Rhodes, violin, and András Fejér, cello
~ Author: Oberon
Monday August 5th, 2019 - Pianist Jeremy Denk joined the Takács Quartet for this evening's Mostly Mozart Festival concert at Alice Tully Hall. Following a weekend in which news of a pair of national tragedies filled the headlines, music lovers flocked to this concert and found solace in a finely-devised and beautifully-played program.
The Takács Quartet have had a change of personnel since I last heard them play live. In the Spring of 2018, the quartet's second violinist and founding member, Károly Schranz, stepped down after 43 years with the ensemble. He has been replaced by the lovely Harumi Rhodes. Cellist András Fejér, the remaining founding member of the beloved Takács, was at full flourish in this program, which featured works in which the cello is prominent.
Fittingly, the evening opened with Mozart: the blissful start of his String Quartet in D-major, K. 575 (“Prussian”) assured us that the classic blend of the Takács remains intact, with the violins sweet and clear, the lower voices ever-distinctive. As the Allegretto progressed, rising arpeggios alternated with descending scales; the players seemed to be finishing each others sentences. Their performance had a wonderful sense of melodic momentum.
After a brief introductory passage, the Andante commenced with violinist Edward Dusinberre's solo theme, which is soon taken by Mr. Fejér's cello, There is a sense in this movement of the phrases blooming, quite an original sensation. Again, the feeling of a musical conversation among the musicians was evoked in their poignant harmonies.
The third movement, Menuetto: Allegretto, is charming in its dynamic variety, its hint of melodrama in a minor-key passage, and its teasing 2-3-4-note motif passed from player to player. The cello-centric Trio section gave Mr. Fejér another opportunity to shine.
For the quartet's final movement (Allegretto, yet again!), Mozart circles back to the opening of the first movement for his melodic inspiration; cello and viola taking the lead. Little flourishes of coloratura crop up from each player, and - continuing in the form of a Rondo - the music follows some lovely by-ways to reach its conclusion. A wonderfully attentive audience seemed thoroughly engaged, both by the music and by the people playing it.
The Takács then turned to Beethoven, offering a rich-textured, heartfelt performance of the String Quartet in F-major, Op. 135, the composer's last completed work.
Following a sly start, the opening Allegretto moves forward with a sense of airy delicacy that made me think at times of Mendelssohn. The ensuing Scherzo has a nice rhythmic impetus, even taking on a driven feeling before its sudden end.
The Takács Quartet's achingly expressive playing of the Lento assai was a soothing balm for our troubled souls today. Upon a sustained note from violist Geraldine Walther, a chord is built which blossoms into one of the most moving pieces of music ever written. A hymn-like flow develops, with bending harmonies tugging at the heartstrings. As the Takács Quartet's playing of it this evening moved along, we were drawn deeper and deeper into a realm of indescribable peace, tinged with inevitable sadness.
A darkish and dramatic interlude is heard before the final Allegro takes over. The music now is full of contrasts; by turns meandering and dramatic, many moods are touched upon before the piece ends. The artists of the Takács Quartet were richly applauded as they bowed to the audience's fervent applause. The themes of the Lento assai played and re-played in my mind: unlike thoughts and prayers, such music offers true consolation.
Following the interval, Mr. Denk (above, in a Lisa Marie Mazzucco photo) took his place at the Steinway, and we heard a thoroughly savourable performance of Ernst von Dohnányi's Piano Quintet No. 1.
A slight feeling of foreboding colours the opening Allegro. After moving towards animation, the music instead subsides to a cello phrase that is passed about. Mr. Fejér then turns accompanist, setting up a cello pulse for some impressive piano-playing by Mr. Denk. The ebb and flow of the music has great appeal, and Ms. Rhodes stands out in solo passages that dot the movement. The music gets grand, even tempestuous, before the keyboard offers calming. The strings play in unison; there's a slow build-up to a dramatic finish.
A bustling agitato initiates the Scherzo, with its lyrical mid-section leading to expansiveness before ending peacefully. Now Ms. Walther's viola enchants as she opens the Adagio with an Autumnal song in which the others join. Through a series of modulations, a mist of longing tinged by regret seeps in - into this place where I have so often been. The music becomes huge and passionate, with Mr. Denk at the Steinway displaying sumptuous power, but the Adagio ends wistfully.
Following a swaying, dancing start, the Allegro animato settles down to a waltz-like solo from Mr. Fejér's cello. Then the more folkish dancing kicks up again; a fugue is heard, bringing in more waltzing, alternately
Now the piano begins to build a coda: this progresses to a rising - and then a falling - of exaltation. In a masterstroke, Dohnányi ends this ode to dance with an unexpected (and strangely moving) "Amen".
The sustained and enthusiastic applause which greeted the artists of the Takács Quartet at the evening's end drew a second bow from them. There were hopes for an encore, but surely these musicians were right in leaving us with that benedictive "Amen".
~ Oberon