Forum Theatre, Malvern – 24th March 2022
Reviewed by Courie Amado Juneau
5*****
Tonight’s programme was a varied and extremely interesting one with works covering the Classical, Romantic and 20th Century periods, presenting two composers who are latterly getting the acclaim they deserve alongside one of the two giants guaranteed to pull in a crowd.
First up was Fanny Mendelssohn’s mature String Quartet in E flat, written in 1834. A fantastic work that enjoys a wistful, melancholic air – as if battling with the requirements of polite society whilst wishing to kick off its shoes and run through the long grass. The final movement really lets loose, allowing the Carducci String Quartet to show off their virtuosity in a thrilling display of tight filigree passagework at breakneck speed. A passionate, dramatic performance superbly opening an intriguing program.
A welcome addition to the concert was being regaled with some anecdotes and facts about tonight’s music, putting the pieces in context. It was timely to hear that the second piece was conceived after a visit to bombed out Dresden, giving us an apposite reminder of the futility of war with Putin’s invasion of Ukraine still raging!
I find a deep vein of sadness in Shostakovich’s works and his ninth quartet (also in E flat, written in 1964) is no exception. There’s also that defiance to retain his unique voice in the face of Stalin’s “Socialist realism” (aka propaganda). The fourth movement is very sparse with pizzicato, long held notes and a great outpouring of emotion; like someone walking through a warzone and remembering fragmentary, joyous memories interspersed with crushing despair. The sheer effort that goes into wringing every ounce of emotion out of a piece such as this was astounding to experience, wrought in glorious technicolor with playing that was urgent, vibrant and spellbindingly intense.
Mozart’s String Quintet in G (completed in 1787) is also a brooding affair, perfectly complementing the preceding works – a masterstroke in programming. Perhaps the addition of
the second viola (Peter Lale seamlessly joining the Carduccis) is the reason for the darker palette which nonetheless ends on a sunlit vein, rounding out a perfect concert.
There’s a visceral intimacy in experiencing a quartet up close that is impossible to replicate. I was incredibly impressed by the quartet’s tone throughout and by their almost telepathic tightness. Their physicality was astounding, with first violinist Matt Denton positively dancing in his seat; often leaving it to put extra umph into a strident chord – all adding to the excitement. Cellist Emma Denton digging into a passionate phrase and that gorgeous (almost vocal like) tone that the cello has were further highlights. And with violinist Michelle Fleming and violist Eoin Schmidt-Martin thrilling in equal measure we see why this is an award winning quartet.
A stunning, enthralling performance that engulfed my heart, reminding one in these cynical times that humanity can be sublime. A challenging program to play but a total pleasure to hear. I can’t wait to explore their CDs and see them in concert again and I implore you to do the same. A massive slice of Heaven.