EIF: Goldmund Quartet

Old College Quad

The Goldmund Quartet are a class act.  This all-male ensemble based in Munich present a challenging programme at today’s Old Quad concert, and turn in a triumphant performance.

The Haydn Quartet Op 33 no 1 in B minor is said to be one of the most difficult pieces in the repertoire, but for the audience, despite its minor key, it’s a tuneful and largely upbeat work.  Having recently seen the Maxwell quartet at Paxton, I would note that facial hair seems de rigeur for male ensembles this year!  Some chamber groups seem scarcely to acknowledge each other or communicate by imperceptible glances.  The Goldmunds are not like that.  Sitting forwards to play, they play close attention to each other, maintaining regular eye contact, often exchanging smiles.  It’s soon clear that this is what enables their pinpoint accuracy in unison playing, and in judging sustained notes.  This precision is also seen in their calm attention to tuning between movements when required, not fussiness but in line with their observation of detail. 

The Haydn first movement Allegro moderato is cheerful and energetic.  Haydn believed that a less fast opening movement should be followed by a quicker second movement, in this case a scherzo, rather than an even slower one.  The Scherzo contains some interesting passages for the violist, Christoph Vandory.  The Andante is a set of variations, giving prominence to different instruments, and then the group tear into the Presto, with virtuosic speedy playing from leader, Florian Schotz especially.  Just 20 minutes long, this is by no means a bonbouche before the main course, but a meticulously played piece in its own right.

‘Death and the Maiden’ is challenging in its subject matter.  Written when Schubert was himself consumed by thoughts of death, the theme of the second movement comes from Schubert’s song of the same name.  The first movement comes with a “programme”, an explanation of the music in terms of the original poem.  I didn’t listen with this is mind, and thought that the fierce rhythmical repetitions suggested both grandeur and fear.  The regular sudden changes from very loud to very soft playing add to that atmosphere.  The players seem to relish the individual phrases and nuances of the piece while maintaining a strong sense of an overall structure. 

The Andante theme is laid out in a solemn quiet unison almost like a death march, and proceeds through variations in which different instruments dominate.  Again the sudden dynamic shifts are handled exactly. The short Scherzo in ABA form contains the most lyrical section in the work, although even that is broken up by an undercurrent of the threatening rhythm from the opening section.  The tune incidentally, which sounded familiar, may evoke Schubert’s song The Erlkōnig, another reminder of the proximity of death.

A scurrying Presto brings the work to a close.  We have an encore, Crisantemi (Chrysanthemum) by Puccini, and after further tumultuous applause, a folk dance with the seated cellist, Raphael Paratore, providing a stamping accompaniment, and the three other players standing to play gipsy style.