The Miro String Quartet takes its name from the Spanish artist Joan Miro, a prominent proponent of surrealism with its sense of abstractness, whimsy and fantasy.
The multi-prestigious award-winning Austin-based ensemble has, over its 22-year history, commissioned a number of new works by living composers and collaborations with exciting musicians, such as the extraordinarily notably eclectic and acclaimed pianist Jon Kimura Parker.
While we might have expected a tasting of that spirit, the fare heard Tuesday in the opening season concert of the Chamber Music Society of Williamsburg in the library theatre was standard rep, refined, engaging and ear appealing. (Two of the four are founders, violinist Daniel Ching and cellist Joshua Gindele, with violinist William Fedkenheur and violist John Largess rounding things up.)
The fare began with the Haydn String Quartet in E-flat major, Op. 71, No. 3. Not one of his better known works, it is notable for its use of theme and variation and for its showcasing of individual instruments. Unlike many of his quartets that were written for smaller, more private audiences, the E-flat major was written for large public spaces. Thus, Haydn opted to use big statements, more creative and colorful harmonies and a sense of expansiveness. This joyful work was given a light and lyrical reading.
As would be evident throughout the evening, the Miro’s overall sound was one of fine blend and balance. Technically, the foursome was well-matched, each capable of solid virtuoso quality solo obligations and, quite naturally, superbly crafted ensemble.
From Haydn’s ebullient Vivace to the primary thematic treatment and gentle Andante to the light Minuet and the closing and jolly, fast-fingering Vivace, the Haydn and Miro were a perfect fit and fine prelude to all that followed.
Similar to the Haydn, Dvorak’s Cypresses are not well known and such a pity that is. These 12 settings of love songs originally written for voice by Gustav Pfleger-Moravsky are somewhat sentimental and overflowing with lovely harmonies, lyrical lines, and gentleness. They provide genuinely pleasant listening. The Miro chose five of the 12 songs for the program, all of which reflected the same above-mentioned qualities of lightness and lyricism. They were selected to show the arc of Dvorak’s first love, as delightfully explained Largess, who happens to be senior lecturer at the Butler School of Music at the University of Texas, Austin.
From the exquisite nature of “When Thy Sweet Glances Fall on Me” and the richly textured “Thou Only, Dear One,” to the more agitated “Death Reigns in Many a Human Breast,” these elegant works were thoughtfully done.
Closing the program on a decidedly different tone was the Brahms String Quartet No. 1 in C minor, Op. 51, No.1. As much as Dvorak tends to be associated with heart-felt sentimentality and Haydn with effervescence, Brahms tends to find association with darker, deeper emotions.
This Brahms illustrates that sense of drama and emotional reflection that colors many of his works. Its opening dramatic statements led to a passionate Romanze and song-like lyricism, followed by an Allegretto and the closing, stirring Allegro which returned to the general turbulent, involved theme and feeling of the opening movement.
From start to finish, the Miro explored the depths of the piece and delivered a highly focused, musical and captivating playing that received a well deserved standing ovation by the full house and, by extension, one that celebrated the Chamber Music Society’s 30th year of proving top notch music.
Shulson, a Williamsburg resident, has been covering the arts for more than 40 years. He makes a guest appearance in Margaret Truman’s “Murder at the Opera.”
