Formed in 2008, violinist Ilya Gringolts‘ Quartet has drawn plaudits and awards from many prestigious outfits across the world – not least for their lyrical and dramatic recitals, which are performed on rare Italian instruments (Ilya’s violin was made in 1743 while band-mate Claudius Herrmann anchors the powerful quartet on a 17th century ‘cello). In this inspired programme for the EIF they decided to create a lively conversation between two composers from different eras.
It’s a bit of a hard sell that classical romantic composer Franz Schubert would have much in common with modernist wunderkind Gyorky Kurtag, who is famed for spiky, angular works, but apparently the 20th century composer had a soft spot for Schubert, declaring his String Quartet no15 an almost perfect work. So a tenuous link gives the Quartet permission to perform this brave, but ultimately inspirational experiment.
The creative and at times intense recital stacks up some mind-boggling shifts of tone as the clash of centuries throws up many jarring juxtapositions. At first the only connection between the two composers seems to be their desire to keep the musicians very busy, scuttling around their instruments at a sometimes furious pace. Then, as the programme progresses toward the end of a stirring first half, compositional connections emerge. Gringolts’ theory about similarities becomes more evident, when Kurtag’s angular Op 28 takes a leap and seems to blend effortlessly into Schubert’s String Quartet No 15. The voices, styles and tones of the compositions seem to merge as the 19th century romanticism meets 20th century expressive prickliness.
It’s a daring and original idea from a rousing quartet who truly deserve their reputation as dazzling musicians and performers. The energy, gusto and intensity of their recitals electrify the room leading to an audience demand an encore.
All four musicians are virtuosos, but extra plaudits must go to ‘cellist Claudius Herrmann whose modernist score had him plucking, sliding, rattling and bumping his instrument so hard it’s a wonder the beautiful 17th century ‘cello remained intact.
With thanks to Malcolm McGonigle for contributing this review.
