Review: Takács Quartet

Nov. 14, University of Richmond

by Francis Church
guest reviewer

The 20th century, not to say the 21st, is anathema to too many listeners of so-called classical music. What a pity!

The Takács Quartet unveiled the last century in its many moods on Monday night in the Camp Concert Hall at the University of Richmond. The result: one of the finest concerts ever to reach these ears. Ever!

For openers, this ensemble – violinists Edward Dusinberre and Karoly Schranz, violist Geraldine Walther and cellist Andreas Fejer – chose the first of Leos Janáček’s two string quartets, subtitled “After Tolstoy’s The Kreutzer Sonata.” Based on Tolstoy’s novella, in which Beethoven’s “Kreutzer” Sonata for violin and piano takes on a prominent role, in a tale of ill-fated love, ending in murder, the music is highly operatic and episodic.

The Takács captured every mood, shifting from the dance-like to the dark, including in the third movement a brief statement from the Beethoven sonata, by first violin and cello, broken by slashing chords from second violin and viola. Finally, the Janáček quartet ends in emotion and resignation.

Next up was Benjamin Britten’s first quartet, written in 1941 during his stay in the United States. It shows the influence of the music he was listening to at the time, according to UR faculty member Jessie Fillerup in her engaging pre-concert talk: Stravinsky (“The Rite of Spring” and “Symphony of Psalms”) and Schoenberg (“Erwartung”). A far cry from Ralph Vaughan Williams and Gustav Holst!

Unlike Janáček, Britten used many elements of formal structure, such as sonata form and counterpoint. And there were folksy elements, as well. The Takács offered a spunky, spiky reading that kept the audience on the edge of its seats. The playing of violist Walther was a special wonder. What warmth and power! No more viola jokes, please.

The concert closed with Maurice Ravel’s lone quartet, written at the opening of the 20th century. Unlike the works on the first half of this program, the Ravel is a staple. The Takács offered a singularly inspiring account, shimmering, balanced and probing, one to remember.

Thank heavens, the Takács let it go at that – no encore when one was not needed. One would like to add a future wish list of a Bartók quartet cycle in which this foursome with Hungarian roots excels. Come back soon.

Francis Church, retired music critic of The Richmond News Leader, is an avid chamber music lover and player.