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Mozart, Bartók, Bach, Brahms:  Members of the Emerson Quartet (Philip Setzer, Eugene Drucker, violins; Lawrence Dutton, viola) with Ralph Kirshbaum (cello) and Elisabeth Leonskaja (piano). Queen Elizabeth Hall, London, 5.3. 2009 (CC)


Quite a surprise awaited me at the QEH. The cellist of the Emerson String Quartet, David Finkel, the cellist of the Emerson Quartet, has a back injury which meant he has had to cancel this entire European tour. All credit to the remaining members’ stalwart spirit, then, that the tour went ahead, with the help of a couple of friends, the well-known cellist Ralph Kirshbaum (playing on  a Montagnana cello once owned by Piatti) and pianist Elisabeth Leonskaja. As I had requested to review this concert on the basis that the original programme included Prokofiev’s First Quartet this came as something of a disappointment.

The Mozart was the Duo No. 1 in G for violin and viola, K423. Drucker was the violinist here – the performance was, as always recently with this quartet, given while the performers were standing. The exposure granted to just the two players gave us an opportunity to compare and contras – and it was violist Lawrence Dutton who was clearly the superior musician, exhibiting none of Drucker’s literal approach. There was almost the impression that Drucker was sight-reading while Dutton was having a whale of a time, and the ear naturally after a while began to concentrate on Dutton’s superb articulation. In the central Adagio, we heard superb double-stopping from Dutton, giving extra depth to the available sound, contrasted with cardboard phrasing from Drucker.

There followed six of the 44 Duos for two violins, Sz98 by Bartók. The final two we heard, “Song of the Bride” and “Romanian Whirling Dance” were the best. Finally, Drucker got the chance to shine in the solo spot – the famous Chaconne from Bach’s Partita No. 2 for solo violin in D minor, BWV1004. Performed from memory, this was a beautifully shaped and technically excellent account.

The Brahms in the second part was the Furst Piano Quartet in G minor, Op. 25. It is always a privilege to hear Elisabeth Leonskaja, who has shared so much musical insight overt he years, and here was no exception. Leonskaja’s legato, the sheer depth and beauty of her tone and her impeccable musicality made this performance a joy. Kirshbaum brought real intensity to his contributions. There was no sense of an extra brought in – the first movement had a sense of inevitability, the Intermezzo was replete with gossamer lines (and noasted a fantastically light coda), the Andante con moto was simply radiant and the finale was full of fire (and recognisably a ‘Presto’, as marked). Voice-leading between the strings was a joy; the coda was full of excitement.

An interesting alternative to the advertised programme therefore, and a concert rescued. Interesting through some parts of the first half were, though, it was the Brahms that made the strongest impression.

Colin Clarke


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