10 June 2007
The Allegri Quartet (and Friends!)
Beethoven Op 18 No.4 in C minor
Schubert Octet Opus 166 in F major
One wonders what Beethoven's aristocratic patrons made of the rugged chords and abrupt szforzandi of this quartet - by no means a gentle piece of background music for a soiree, this! The programme notes reminded us that the Opus 18 are still very much the experiments of a young composer, and in his introduction, Pal reminded us that in Beethoven's hands, the key of C minor becomes the key of tragedy. Fortunately, Beethoven is much too good a composer to force his listeners to wallow in unalloyed misery, even writing as he was at the onset of the deafness that was to last for the rest of his life, so while we were made to feel the intensity of woe, we were also able to rejoice in the playfulness of the Scherzo and the excitements of the Rondo.
After the Interval, the Allegri were joined by James Campbell (clarinet), Jarek Augustiniak (bassoon), John Davy (French Horn), and Tony Hougham (double bass) for Schubert's Octet. James Campbell, introducing the second half of the concert, first referred us to Chris Symons' programme notes (excellent - indeed, recommended for further study after the concert!) and then introduced the other musicians. He also told us how much musicians enjoy the opportunity to play this piece, although as he said, co-ordinating the diaries of eight musicians for rehearsals is a challenge. That whatever rehearsal they did was more than sufficient, they more than proved by their performance. Individually superb musicians, their concentration and craftsmanship created a superb ensemble, and a wonderful musical conversation. The occasional smiles that illuminated the concentration testified to the truth of James Campbell's claim that this piece is as popular with performers as with audiences.
Rachel Wright
Committee Member