A Stand-Up Concert From Artis Quartet
By June S April
Last weekend's concert by The Artis Quartet at Edmond Town Hall ended
with standing applause, which might have been in some small measure because
of its musicians - violist Herbert Kefer, first vio-linist Peter Schuhmayer
and second violinist Johannes Meissl - stood for the entire concert.
"The reason we decided to perform standing, rather than sitting,"
explained cellist Othmar Müller, "is that it is the way we practice,
so it made sense to us to also do so when we play concerts."
Since their formation 25 years ago, the stature of this quartet has always
been on a higher level, both musically and physically. With a score of
compact discs ranging from classical to contemporary, and numerous international
awards, the Artis Quartet brought a most enriching program to the audience
in Newtown on March 13.
Their playing demonstrated the technical virtuosity that has brought them
recognition via such in-ternational awards as the Grand Prix International
du Disque/Academie Charles Cros, the Prix Caecilia, the Diapason d'Or
and the Wiener Flötenuhr.
The concert opened with a challenging work by Mozart.
Subtitled "Dissonance" (otherwise known as Quartet in C Major,
K.465), the opening sounds are of a rather strident level, both in the
playing and the sound. But in true Mozart style, it is soon beauti-fully
melodic and even somewhat jocular in the last movement.
Next on the program was a particularly beautiful quartet by Felix Mendelssohn.
Quartet in E minor, Opus 44, No.2 was written on his honeymoon and bespeaks
the depth of love and happiness. Written in the accepted musical format
of the day, four movements, it begins Allegro, which is not too fast,
but captures and moves the melodic lines from one instrument to be grabbed
by the other.
The Scherzo moves more quickly and rhythmically yet retains the lovely
harmony that so bespeaks his state of mind. In the music of the third
movement, Andante, Mendelssohn wrote in the music "nicht schleppend,"
or "do not drag." As with Shakespeare's notes for Hamlet, leaving
direct instructions for actors or musicians means playwrights and composers
leave no question doubt over how they want their work expressed.
Moving out from the shadow of Joseph Haydn, Beethoven's Quartet in F,
Opus 59, No.1 offers musicians an opportunity to weave nuances as well
as vigorous melodic statements and harmonies.
The ending is pure Beethoven, teasing that the end is near and then, with
great musical flourish it consummates, boldly.
The members of the Artis Quartet met while studying in Vienna and clearly
still relish one an-other's company and skills. Their worldwide concertizing
and interaction with audiences has justifiably brought them a loyal and
enthusiastic following.
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