Each of the two pieces was written in memory of another musician, the first, a quartet for violin, viola and (unusually) two cellos, in three movements (Op. 35, No.2), composed as a tribute to Tchaikovsky. The music being balanced towards a low pitch made it sound funereal in places, the first movement like a sacred chant. "Deep Russian sonority," I noted. The middle movement was a series of variations on a theme by Tchaikovsky, Russian folksy in style, and the Finale began in a low register again, on all four instruments, andante sostenuto, leading to a fugue.
The second piece, Arensky's first piano trio in four movements, Op. 32, written in memory of a cellist friend, was somewhat lighter by comparison, with a romantic, Dvorak-like opening movement with a fast, bouncy Scherzo and a muted Elegia following.
I jumped on a bus and went straight from that concert to the 2pm concert at Southminster United: the Auryn Quartet playing Beethoven and Schubert, not to be missed! They played Beethoven's C-sharp minor Opus 131, with no breaks between the movements. I'm not sure whether the Ottawa audience is quite ready for Beethoven's Late Quartets -- some of the audience seemed to find it a hard slog -- but knowing what to expect, I was swept along with this monumental music. After the intermission, the German group performed Schubert's G major quartet D. 887, and that was Beethovenesque too, with its sudden major-minor changes, and delighted me with a long and lovely melody on the cello in the slow movement. The Auryn Quartet is adept at pianissimo playing: that's what distinguishes the professionals from the amateurs. These men have been playing together for more than 30 years, still the original members of the quartet, like a marriage. They are currently based in Detmold, Germany.
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