Beethoven, Stravinsky and Schubert: Artemis Quartet (Natalia Prishepenko (violin), Gregor Sigl (violin), Friedemann Weigle (viola), Eckart Runge (cello)) with David Geringas (cello), Wigmore Hall, London, 20.5.2008 (BBr)

Ludwig van Beethoven: String Quartet in C minor, op.18/4 (1800)

Igor Stravinsky: Three Pieces for String Quartet (1914)

Igor Stravinsky: Concertino (1920)

Franz Schubert: String Quintet in C, D956 (1828)


It has always amazed me that Beethoven’s Quartet, op.18/4 is such a fun piece since it is written in the stormy key of C minor. But then, after thinking about it for a while, one comes to realize that it’s an early work and is full of his teacher’s good humour.The Artemis Quartet understood this and gave a fine performance. The second movement in particular went well, for the, almost, metronomic feel to the music – like the second movement of the 8^th Symphony – was played with bluff  goodwill. It was a well paced and well thought out interpretation.

The change from Beethoven’s to Stravinsky’s humour couldn’t cover a wider gap however. Three Pieces was named Grotesques at its première and it’s easy to see why – a gallumphing Russian dance, a jerky piece inspired by the English Music Hall comedian Little Titch and a meditation on a chordal passage. It still feels like a strange mix, and it’s so short  that it’s over almost before it’s begun. The Concertino is even stranger: naughty bi-tonality, rushing scales, neo-classical language and a peaceful ending of some beauty. The Quartet made the most of these two works which, I’m sure, don’t give much back to the players except a feeling of satisfaction at getting through them. There’s no heart to this music but then, that would please Stravinsky and the straight forward performances served them well.

The prize of the evening was, undoubtedly, Schubert’s great Quintet. Here is music of some urgency, which may seem a ludicrous comment when one considers that the work plays for about 60 minutes and most of it is written in a leisurely tempo, yet there is something vital about it. Yet another work from the composer's last year, this masterpiece is free from any worries Schubert may have had concerning his impending death – he knew he was a dying man from 1823 when he was told he had contracted syphilis – and he takes us to the elysian fields with music of the utmost beauty and contentment.

The opening movement, which the players gave us complete with exposition repeat, was full of sunny warmth, the phrasing of the second subject was a real joy, the two cellos singing for all they were worth, and in the development section where drama takes to the fore, there was fire and power. The monumental slow movement, with its almost static opening -  held chords underpinned by pizzicato from the 2^nd cello and a plaintive gesture from the violin -  seemed to hold time in suspension, was almost too beautiful and the storm which broke this reverie was truly disturbing but  gave the reprise of the opening music a new found delicacy and exquisiteness. The tension created here by the players was utterly spell binding, so completely did it hold the audience in thrall. The scherzo does things in reverse, big, bold fast music encloses a very slow and delicate trio; in fact, despite the passages of argument heard earlier, this is really the only music where Schubert lets go and smiles with glee for us. Although the finale seems easy going, it is far from it. Perhaps here there is a moment or two of desperation, but Schubert’s lyricism dispels any worries we may have about his problems, and it is only at the end where the tempo increases and the music comes to rest on an emphatic C that we sense that things might not be quite right.

Truls Mørk was to have played the second cello part but at the last moment had to cancel and his place was taken by David Geringas but there was no sense of a quick replacement.  Geringas joined the ensemble as if he’d been with it from the start and his playing was the rock on which this interpretation was built. This performance of one of the glories of the chamber music repertoire was indeed glorious.

The Artemis Quartet used the widest of dynamic ranges from the most hushed pianissimo to the loudest fortissimo,  and their internal balance was excellent. I should mention that Gregor Sigl led the ensemble in the Beethoven and Stravinsky Concertino and Natalia Prishepenko led for the rest of the concert.  A splendid evening of superb music making.

Bob Briggs


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