artsbrief

Author: Andrew Throdahl

The Pavel Haas String Quartet, named after the Czech composer who died in the Auschwitz-Birkenau concentration camp complex in 1944, seems to be comprised of four independent virtuosi , strung together by a common, vigorous interpretation. Thus, when they performed last Sat. evening in the CFA Concert hall, the ensemble felt more detached than some of the other major string quartets that have graced Middlebury - the Takacs Quartet, for one. Pavel Haas' program moved backwards chronologically, starting with the folkloristic modernism of Janacek, progressing to the Dvorak and ending with Beethoven.

The Quartet's rendering of Leos Janacek's first quartet, "The Kreutzer Sonata," based on Tolstoy's novella, emphasized the operatic nature of the work. The opening theme, first presented in the cello and then passed along by the other players, was played with an uncomment insistence. This uninhibited style returned in the sul-tasto "interruptions" of the second violin and viola in the dirge-like third movement. Overall, the piece seemed very authentic in the hands of these young Czech players.

At times in the quartet's reading of Dvorak's beloved "American" Quartet, the cello overpowered the others, emphasizing its attractive but unfortunately drearier line. Sometimes it felt like the group was trying to do too much interpretively, and some lines sounded mildly fussy, notably the ostinato of the lento movement.

Beethoven's late works have always deserved exploration, but their quirkiness usually scares young musicians away. For one, late Beethoven is almost always longer, and more contrapuntally involved, than some of his more popular works from the so-called "heroic" period. The obvious exception in this demanding phase is the ninth symphony, which has been a bodacious crowd pleaser since its premiere. It was refreshing to hear the Pavel Haas perform op. 132 String Quartet (which was written soon after the undying "Ode to Joy") if only for their technical vibrancy. That said, the need for that patient sensitivity only found in older musicians was imminently clear.

In the end, the quartet's Janacek stood out as a marvel, and any recording they produce of either of Janacek's two string quartets would be a good investment for any curious collector.