Quite regularly, every two years, the Emerson String Quartet to Berlin. The day before yesterday, they were for the first time in the Pierre Boulez hall. Meanwhile, all four seats. This is almost the Only thing that has changed over the last 43 years in this Formation. This may apply, in the Lord-Keuner’s sense, even as a compliment?
This heretical thought arises only for a short while the hall is filled all round with festive-minded friends, a lot of old and young regulars of this brilliant, legendary, mythological string Quartet from New York city. And it dissolves instantly into pleasure, as the noble D major-Adagio apart folds, which, in all representative soon, the first sentence of the second “Apponyi”-Quartet, op. 70 no 2 by Joseph Haydn. A music from the year 1793, which was intended for the public concert, Haydn had met in London, not for the private Royal chamber: The reflected to the formal structure. Nevertheless, the Emersons brushes nothing to effect, or brilliance. You play so happy, you’d still be all alone in the world.
Interlocking of dynamics and colors
Gorgeous, the homogeneity in the Interaction, once the intimate Interwoven with one another, the dynamics and colors! Everything flows like a breath. The Emersons are old-fashioned, risk a lot to this depth of Expression of will, which makes each Live Performance to be a stroke of luck. One of the super-perfect, super-smooth Quartet ensembles, as they are today, as the mushrooms grow, would margins Intonation in high position is certainly not want to make. With Eugene Drucker plays first violin in the Haydn, it just acts like a tiny pinch of sophistication, shoo and over.
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Jean-Guihen Queyras, in the Boulez hall Declaration of love to the world
Isabel Herzfeld
In the e-minor Quartet by Giuseppe Verdi, Philip Setzer assumes the first Position. Paul Watkins, the cellist of exchange three years ago, the “New” Emersons, sings his interpolated Solo-Canzone in the third set with a big, bright sound. In between is celebrated very nice to Sandwich-kind of something Contemporary, and the tenth string Quartet by the American composer Richard Wernick, who has disassembled a theme by Beethoven, rest in neoclassical soul. This time, Lawrence Dutton, the violist, the most important figure in the game. The audience takes quite a superfluous piece. According to the gluten-full Verdi, however, entranced, applauding it two Extras: a cypress song by Dvořák , then, the frenzied Scherzo-children’s song from Beethoven’s late C sharp minor Quartet.
