“The Quartet of Venice” found in the burlesque tragedy

The famous Italian Quartet Quartetto di Venezia together with the oboist Gianfranco Bortolato presented in the Small hall of “Philharmonie-2”, in General, traditional chamber music program of works by Beethoven, wolf and Mozart, however, in their gymnastics, juggling between the classical and romantic tradition found forms of poetic theater, where every pause was a place of high tragedy, albeit in an elegant salon package.

photo: quartettodivenezia.it

Quartetto di Venezia — always a gift for the music lover, this is the case when performances of chamber music with one hand raised to the fetish, on the other — their taste preferences are quite extensive and wide range of performances, from festivals to the privilege of performing before Pope John Paul II or to the President of the Italian Republic.

At the same time, the Quartet (which is in the current — Andrea VIO, violin; Alberto Battiston, violin; Mario paladin, viola; Angelo Zanin, cello) can not be called “display”, that is, “Sanchez under the beautiful guise” — initially, the band absorbed the performing qualities of the two schools of quartets — Quartetto Italiano and the Vegh Quartet; and experts, like the violist Bruno Giuranna, generally felt that “the Quartet of Venice” can be compared with the great quartets of the past in which “perfect technical mastery and powerful execution are committed to the primordial, the absolute sound”.

At this time (and the concert is organized with the support of the Italian Institute of culture in Moscow), the Quartet has performed together with native of Venice oboist Gianfranco Bortolato, often positioning himself as a soloist, rather than a musician (though he was concertmaster of the group of oboes in the Symphony orchestra of Sanremo, the Milan orchestra I Pomeriggi Musicali and the orchestra of the Rome Opera).

The quintet for oboe and strings in C minor by Mozart (406) can be caught composing the original message, which worked on the Serenade for wind instruments, performed in the open air, but for some reason, altered the Serenade string quintet. But dependent on specific client work. Anyway Latinized music in the hands of the Italians did not look like a joke, but acquired the character of a most serene, the slow even tread of strings framed by the restless God-oboe, oboe — like, the goal is to substitute vocalist, playing accents sometimes helpful, sometimes nagging “improvisation”, and would play, it seemed, forever, if he had not cut himself the author.

…When you feel even in a work of small form — and we are talking about an “Italian Serenade” for string Quartet Hugo wolf, echoes the tragic fate of the composer, always elevates; wolf lived only 42 years, “Serenade” was written in 27 years, and arrangements of them for orchestra a few years later. Often in concert practice just exactly orchestral arrangement, and, with nuances, for example, for solo viola. Wolf wrote “Italian Serenade” between the two depressed cut — to writing, he managed to leave the camp of critics, after retiring from the newspaper (where he was nicknamed “the wild wolf of the Salon piece”), and immediately after the completion of the opus he’s got his music “Serenade” light and transparent, that way strokes flirting in virtuosity, and a hint of the dramatic incidents in the life of the composer.

But when the game Quartetto di Venezia warning notes when the pompous facade is seen as a future ruin, is this game worth it, especially because Italian musicians — for all their brilliant teamwork — able to present this opus in some elevated theatre setting, where every musician appears as if in his mask, to the final these masks are gradually removing, thinning style, washing away the face makeup…

In their game brilliantly pretended to “split” the wolf, noticed by musicologists on the one hand, it is classical the desire for maximum clarity of the phrase highly emotional temperature of the romantic tradition.

Completed the evening, Beethoven’s Quartet in e minor is one of the so-called “Russian” or, more precisely, the “Razumovsky” quartets by Beethoven, dedicated to unique in its kind, personality — Russian Ambassador in Vienna, count Andrei Razumovsky, who, in his luxurious Palace staged regular concerts, collecting the entire musical color, and even sat behind the console of the second violins.

Fragmentary “Russian theme” in the third part sounded even mischievous, burlesque (Yes, in fact, did not keep Lee for this and the author himself, browsing in the library Razumovsky “the Assembly of people’s Russian songs”?), but the main message emerging Quartet the Beethoven Symphony was seasoned perfectly: not in vain Romain Rolland the three “Russian Quartet” put even above those that were written later. Powerful living thought, the boldness of Beethoven’s interpretation, where each phrase is a shadow of the orchestra, was keenly enjoyed the Italian musicians in fresh, devoid of “prettiness”. Even at some point went brand melody Quartetto di Venezia, replaced by a fixed battle for new meanings…

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