It’s a continuing tribute to the Chamber Music Society that we are regaled with some of the top chamber ensembles in the world. With rare exception, the groups gracing the Williamsburg Library Theatre stage have been blue ribbon in quality. Such was the case Tuesday with the appearance of the Minguet Quartet.
Formed in 1988, the ensemble has made an international and acclaimed name for itself, playing just about everywhere. Fresh from playing in Bratislava a matter of days before, the Germany-based Minguet brought to us a beautiful program of music from the classical and romantic periods, areas of emphasis for the Minguet.
The most immediate impression on hearing the group as they opened the program with Mozart’s Quartet No. 14 in G major was the notably well-matched technique, sound and artistry of violinists Ulrich Isfort and Annette Reisinger. While most such positions in groups we have heard are nicely balanced, the principal violin often rules. Granted the first chair carries with it different requirements but here, there was a remarkable oneness between the two, which was musically enhancing. Such cohesiveness brought a depth of perception to the fare, along with a sense of elevated artistry.
Similarly did violist Aroa Sorin bring to the ensemble a very notable physical involvement that found her totally involved in the music making. Her lovely tone contributed to a united sense of sound with the violins, which made for engaging interactions. Somewhat interestingly, cellist Matthias Diener sat slightly apart from his three cohorts, creating an impression of a trio plus one. Obviously his part was integral to the whole and, by and large, other than occasional intonation issues, he exhibited the caliber playing that has made the Minguet a musical and virtuoso force.
The group also distinguished itself with keen attention paid to such elements as dynamics, accents and cohesion of expression. While these are part and parcel of playing, the Minguet seemed to take these things beyond the norm, especially in pianissimo passages, the likes of which were impressive musical whispers.
In the Mozart, the group brought out the work’s essential lightness and lyricism, the exception being the Andante, which was purposefully more solemn and restrained. The lighting fast passagework of the closing movement capped off a swell performance.
Moving from the classical to romantic, the Minguet delivered a finely crafted rendering of Mendelssohn’s String Quartet No. 4 in E minor. Its emotions are wide, ranging from the Allegro’s dark, turbulent mood and Scherzo’s friskiness to the Andante’s beautifully flowing sentiments and the Presto’s inherent intensity and drama. It was a polished performance that left nothing wanting.
Closing the program was Schumann’s String Quartet No. 3 in A major, which was a listening delight. Opening with a highly lyrical and expressive Andante, the work moves to an Assai Agitato which embraces a theme and variation. It’s lightness and darkness in tone and emotion, qualities likewise found in other portions of the work, all of which serve as a nod toward Schumann’s battle with something akin to bipolar disorder, moments of highs and lows and associated behaviors. Certainly, the Adagio was a moment of introspection, its lyricism and intensity casting an emotionally dark shadow. To the opposite extreme, the Finale was highly charged, sunny, even optimistic. The Minguet’s performance was enthusiastic and energetic, bringing the introspective Schumann and this entire evening to a sonorous and gratifying close.
Shulson, a Williamsburg resident, has been covering the arts for over 40 years. He makes a guest appearance in Margaret Truman’s “Murder at the Opera.”
