Above, the artists of the Signum Quartet, photographed by Irène Zandel: Thomas Schmitz, Cello; Annette Walther, Violin; Florian Donderer, Violin; and Xandi van Dijk, Viola
Author: Oberon
Thursday May 18th, 2023 - The Signum Quartet delighted a packed house at Weill Hall with a diverse and rewarding program; masterworks by Haydn and Schubert were performed alongside intriguing music by two South African composers: Priaulx Rainier (1903–1986), and contemporary composer Matthijs van Dijk.
Haydn's String Quartet in D-Major, Op. 20, No. 4, opens with a wonderful feeling of calm. The first movement, Allegro di molto, goes on to offer a variety of dynamics and accents, alternating animated passages with stretches of lyricism. Immediately, the clarity and distinctiveness of the four players' timbres was evident, as was their technical virtuosity. First violinist Florian Donderer's playing was a model of grace and subtlety as the opening movement flowed on to a charming finish.
A poignant violin theme opens the adagio second movement, which has a theme-and-variations air about it. Cellist Thomas Schmitz relished the music's alternating currents of nimble passagework and melodic flow, whilst a theme with a sense of yearning came from Mr. Donderer. Beautifully integrated harmonies were heard in descending phrases.
The very brief and exuberant third movement is described as an Allegretto alla zingarese, though there is really nothing of a gypsy flair to it. Mr. Schmitz reveled in the virtuoso demands of the music, which develops a lively sway; it's over all too soon. The finale, Presto scherzando, is a lively romp - with periodic lulls - in which the players' evident joy in the music's sneaky, off-kilter elements transmitted itself to the listeners, filling the hall with a wonderful sense of community.
Two 'new' works were on the program tonight, though one of them is older than I am. Receiving their Carnegie Hall premieres were Matthijs van Dijk's (rage) rage against the (composed in 2018) and Priaulx Rainier's Quartet for Strings, which dates from 1938.
Matthijs van Dijk's (rage) rage against the is a ten-minute work that wowed the crowd. Eerie, ethereal sustained pianissimo tones from the first violin and viola are rudely interrupted by violent slashes from Ms. Walther's violin; then Mr. Schmitz's cello makes a stealthy entrance. With jagged outbursts and eccentric repeated motifs, the music evolves to violence, including the stomping of feet. A rhythm springs up, igniting some wild playing, and then the music surprisingly takes on a cinematic quality. Everything now calms down, save for the occasional vivid slash of the cello. And then the players begin to hum. Brilliant! The audience erupted in a whooping ovation, much deserved.
The van Dijk was followed by another sonic wonder: Priaulx Rainier's Quartet for Strings. Ms. Rainier, who studied at London's Royal Academy of music and later collaborated with Peter Pears and Jacqueline du Pré, published only 30 works. I was fascinated to learn that her Quartet for Strings was choreographed (in a piano arrangement) by Doris Humphrey; entitled Night Spell, it's on Vimeo here.
The quartet is in four movements and lasts about 20 minutes - and what minutes those are! In the opening Allegro molto serioso, the restless cello heralds dense and darkish harmonies. Violist Xandi van Dijk vies with - and then unites with - Mr. Schmitz's cello in deep violet passages. The music takes on an anxious air, and rich chords develop. Trudging cello accents are heard before the music falls silent.
Ms. Walther's violin strikes up the Vivace leggiero grazioso, soon joined by Mr. Donderer. The music has a Mendelssohnian lightness as fleeting melodic themes come and go, whilst rhythmic undercurrents keep us engaged. Onward to the Andante tranquillo; descending harmonized passages and exceptionally rich viola/cello tones are heard in a succession of gorgeous themes. Passion rises with a unison trio underpinned by plucking cello, and then an ascending passage moves from viola to 2nd violin to 1st violin as the music fades away.
The quartet ends with a Presto spirituoso; with slashed motifs the music pulses along, then slows for some eerie harmonies only to rebound in a driven dance. Sighs and whispers become otherworldly, and the work reaches an animated conclusion. Now I must find more of Mr. Rainier's music
Following the interval, Franz Schubert's immortal Quartet in D-Minor, D.810, "Death and the Maiden" was played in all its engrossing glory by the Signum artists. I stopped taking notes - what more could be said about this music anyway? - and simply savoured the ideal balance between passion and elegance that the players achieved.
This concert, coming late in the season, was one of its highlights.
~ Oberon