François-Frédéric Guy (piano), Quatuor Danel [Marc Danel & Gilles Millet (violins), Vlad Bogdanas (viola), Yovan Markovitch (cello)]

Shostakovich String Quartet no.10 in A flat major Op.118 (1964)
Weinberg String Quartet no.11 in F major Op.89 (1965-6)
Weinberg Piano Quintet in F minor Op.18 (1944)

Wigmore Hall, London
Monday 25 November 2024

by Richard Whitehouse Photo (c) Marco Borggreve

This latest instalment in Quatuor Danel’s parallel cycle of string quartets by Shostakovich and Weinberg comprised one of the former composer’s most understated pieces followed with two of the latter’s most characteristic yet, at least in terms of expression, utterly contrasted works.

Written during just 11 days, the Tenth Quartet is something of a standalone in Shostakovich’s cycle – coming as it does between the four innately personal quartets that preceded it and the four related to members of the Beethoven Quartet (who premiered all except the first and last of this cycle) that followed. Yet, as its dedication to Mieczysław Weinberg suggests, this is no less specific in intent – hence the musing ambivalence of its initial Andante and visceral force of its scherzo. The Danel savoured their respective essence, cellist Yovan Markovich coming into his own in the ensuing Adagio with its emotionally restrained variations. The link to the finale was seamlessly effected, then the movement built methodically towards a heightened restatement of the passacaglia theme before tentatively retracing its steps to a wistful close.

Written months later, Weinberg’s Eleventh Quartet is by no means lesser by design or intent. Its fugitive opening Allegro exudes a scurrying motion such as resurfaces at key moments in the overall design, akin to that of the Shostakovich in equivocation, and if the scherzo could hardly be more different in its fleeting delicacy (the original such movement it replaced was likely much more demonstrative), the solemn alternation of ensemble and solo writing in its Adagio conjures up a similarly processional aura. Contrast is again pronounced in the finale where, instead of channelling the musical loose-ends towards a formal and expressive unity, Weinberg leaves matters in abeyance; despite (or because of) the most tentative recollection of that scurrying motion which flits across the already fragmented texture at the very close.

If the Danel had long mastered Weinberg at his most refractory, it proved equally adept with the communicative power of his Piano Quintet. At almost 45 minutes this is also his largest chamber work, its five movements unfolding as a discursive if never random sequence such that the furtive questioning of its opening Moderato finds accord with the unsettled humour of its ensuing Allegretto – an intermezzo next to the scherzo-like energy of its central Presto, in which the interplay between François-Frédéric Guy and the Danel was at its most incisive.

Much the longest movement, the Largo accumulates intensity through juxtaposing passages in rhythmic unison with those during which piano and strings predominate. Its impassioned culmination is exceeded by that of a final Allegro whose impetuous main ideas bring about    a climactic return to the work’s opening theme. Even more remarkable is what follows: the intensity soon subsiding prior to this movement’s initial idea returning, quietly transformed, as though to suggest its composer having been reborn as a sentient being and creative artist.

Hearing this work, performances of which have fortunately become more frequent these past two decades, is an experience like few others in the chamber domain; suffice to add that Guy and the Danel were as one in their realizing the scale and impact of this modern masterpiece.

You can hear the music from the concert below, in recordings made by Quatuor Danel -including their most recent cycle of the Shostakovich quartets on Accentus:

For more information on the next concert in the series, visit the Wigmore Hall website. You can click on the names for more on composer Mieczysław Weinberg, Quatuor Danel and pianist François-Frédéric Guy

Published post no.2,378 – Saturday 30 November 2024