The Jerusalem Quartet: Kyril Zlotnikov-cello, Sergei Bresler-violin, Alexander Pavlovsky-violin and Ori Kam-viola
This string quartet concert dazzled with smooth synergy and clean unity of attack whilst preserving spontaneity in the performance. The opening work in the programme, String Quartet Op 64 No 5 ‘The Lark’ (1792) by Haydn was a fine example of this.
Seamless Haydn is a test of any string quartet’s proficiency. The test was passed with flying colours by the Jerusalem Quartet. This work unfolded with clear intensities of structure. Balance shifts across and between the individual strings ensured engaging conversations were always present.
This Haydn quartet’s opening movement themes were freshly defined. The tension and resolution of the melodies in later development unfolded with finesse and fine interplay. The remainder of the work’s narrative continued in this capable vein. From the eloquent adagio second movement to the bristling final vivace, this work was an entertaining start to the concert event.
Atmosphere and vivid soundscapes were evoked in Ross Edwards’ descriptive String Quartet No 3 : Summer Dances (2012). This work’s five movements were brought to life by the quartet following an interesting on-stage introduction from living composer Ross Edwards. The inclusion of an Australian work, and especially a commission work follows Musica Viva’s typical and satisfying plan for their International Concert Season programming.
On this occasion the Jerusalem Quartet members fully embraced the writing of Ross Edwards, with its atmospheric emphasis and links to the sights and sounds of the Australian environment. The score and style were accurately realised and commandingly played with energies and colours to suggest features of our local natural spaces.
Individual compositional style was further celebrated by the quartet after interval. Occupying the entire second half of the concert was an expansive and joyous reading of Beethoven’s String Quartet Op 59 No 1 ‘Razumovsky’ (1806).
From this work’s familiar opening to its character-filled finale inspired by a Russian tune there was great attention to detail. A pleasing momentum existed throughout. The performance of the slow third movement was a highlight of the work. The playing was a treat for all assembled and was one of the more spellbinding extended moments of the entire concert.
The poise and fine nuance displayed in this beautiful adagio by the Jerusalem Quartet showed what a masterful quartet can do with one of Beethoven’s extended moments of genius. Each contrasted sound event morphed effortlessly into the next and the result was spellbinding.
This Musica Viva International Concert Series event celebrated the power of the string quartet as a compositional style over time. The Jerusalem Quartet championed key works in the development of the genre by its great exponents Beethoven and Haydn as well as Ross Edwards’ exciting contemporary Australian manipulation of the ensemble’s options for colour, shape and communication.
An exquisite encore of the slow movement from Debussy’s String Quartet Op 10 in G minor (1893) left the audience wanting more of the visitors’ talents and indeed to be treated with an eighth Musica Viva national tour in the future.