This delightful concert was filmed as part of the MDCH season but was actually performed at the atmospheric Cell Block Theatre in Sydney.
Each work was introduced by Artistic Director of the Haydn Ensemble Skye McIntosh. For this performance the Ensemble was reduced to a quartet: Skye McIntosh on violin, with Matthew Greco on violin, Karina Schmitz on viola, and Daniel Yeadon on cello.
There was magnificent, precise playing by the four musicians, who had a great rapport between them and concentrated intently.
The theme of the concert was dreams – a source of illumination and fascination for artists, writers, filmmakers, psychologists and composers alike ( think Goya and Poe, for example, not forgetting van Gogh to name just a few ). The music attempts to comprehend the intangibility of dreams – the tales, memories and colour of dreams, some vivid some just snatches, some current, some past.
First up was a selection from Johann Sebastian BACH ‘s (1685–1750) transcr. François MEÏMOUN (1979–) Goldberg Variations BWV 98.
Originally written for harpsichord, (nowadays, usually they are performed on the piano) this was adapted for string quartet who gave the rich and complex piece a dignified performance full of emotional depth. Bach was commissioned by Count Kaiserling to write these for Goldberg to play to him during his many sleepless nights to help the Count into the arms of Morpheus.
The Ensemble played seven of the Variations :The first Variation was sinuous and eddying.The second was darting with brisk flurries and the use of pizzicato on the violin. The third was creamy while the fourth was luscious, both of them taking and developing the main melodies.
The fifth, a duet for violin and cello, was melancholio and thoughtful. The sixth was pulsating. Number seven began slowly and softly, was throbbing, passionate and intense.
The final Variation was somewhat faster and livelier with a repeated circular melody that became slower and sadder.
Ludwig van Beethoven’s (1770–1827) String Quartet in F major Op. 18 No. 1 – 2nd Movement Adagio affettuoso ed appassionato ( 1798-1800 ) followed.
This was passionate and intense with a quivering, tearful cello that murmured the melody underneath in accompanying the others. Beethoven was inspired by the tomb scene in Shakespeare’s ‘Romeo and Juliet’ for this movement with its, at times, doleful remorse to apprehension, poignant contemplation to unfortunate disclosure, interspersed with music that takes us to the final jolting conclusion.
Next came Franz Joseph Haydn’s (1732–1809) String Quartet No. 40 in F major Op. 50 No. 5 (The Dream ) in four movements.
The first movement was off to a boisterous bouncy start with breathless scurries The circular melody was taken and repeated in a tumbling bubbling mood.
The second movement oozed luxuriously – it was far slower and had a melancholic atmosphere, with a mournful cello, the others thoughtfully agreeing
McINtosh on violin shimmered in an enthusiastic line, rather tranquil ( sometimes not that tranquil! ) incongruities leading to its nickname ‘The Dream’ .
The third movement was whirling and waltz-like with an emphatic rhythm. The violin led the harmonious athletic group discussion, the others agreeing.
The final movement was brisk – McIntosh on violin stating the melody which was then taken up and agreed with by the others in a question and answer dialogue, adding fast, tumbling flourishes.
The encore was Schumann’s Träumerei (Dreaming) No.7 from his Kinderszenen Opus 15, rich and flowing with pulsating strings.
A most splendid concert.
Running time 70 minutes.
The Australian Haydn Ensemble will perform this concert in Sydney on November 6.
https://www.australianhaydn.com.au/events/haydns-dream-and-the-goldberg
