Edvard Grieg: String quartet in F major (unfinished)
Per Norgard: String quartet no. 9 'Into the Source'
Jean Sibelius: String quartet op. 56 d minor 'Voces intimae'

Vertavo String Quartet (Oyvor Volle, Berit Cardas, violins; Henninge
Landaas, viola; Bjorg Vaernes, cello)
Musikhalle, Hamburg, April 20, 2002

A Norwegian quartet in an all-Scandinavian programme sounds promising,
doesn't it? Indeed, these four marvelous musicians could live up to the
expectations and some more.

The concert began with Edvard Grieg's unfinished F major quartet, of
which they played the first two movements, which have been finished by
Grieg.  This wasn't the music of a composer often billed 'too lyrical'.
It was fierce, dramatic and intense.  The first movement's constant
changes between soft, almost kitschy passages and strong drama was
very well underlined by the Vertavo Quartet; the dramatic moments very
wonderfully exciting, with the soft passages very relaxed.  Unfortunately
they didn't play the exposition repeat, this probably was to balance the
two movements.

The Scherzo was taken at an extraordinary speed which can't be praised
too much.  The Trio's frenzy dance was just as exciting, with the spooky
minor-key middle part providing wonderful contrast.

The second part of the first half was filled by Per Norgard's ninth
string quartet, which had its Hamburg premiere.  The quartet written in
2001 and co-commissioned by the Vertavo Quartet consists of three movements
in the conventional order: A fast first and last movement, the latter
having a slow introduction with a slow movement in the middle.

I couldn't quite make out the first movement's structure; it seems to be a
collection of relatively short parts.  These feature interesting thematic
work, but each part uses its own theme, so that the movement doesn't quite
hang together.  It lasts for about eight minutes.

The second movement is much more convincing.  The beginning is simply
astonishing.  The violins have ethereal high notes and the viola and
cello pizzicato notes that seem to drop like rain.  Behind this, there is
a beautiful cantilena visible, but not outspoken.  After a fast middle
part, the serene and peaceful beginning returns, this time without the
'raindrops'.  This movement also clocked in at about eight minutes.

The finale's slow introduction perhaps is the greatest part of this
quartet.  It consists of no melody whatsoever, only chords.  Nonetheless
the tension it generates is enormous, because yet again there is something
visible, which isn't played.  The main movement then begins a hectic dance,
which is interrupted twice by calmer passages.  The end comes after seven
minutes quite surprisingly.  The music hurtles towards a pause after a long
diminuendo - but doesn't continue.

Despite some weaknesses, among them the strange title, this quartet
certainly is worth hearing.

After the interval, Sibelius' last quartet 'Voces Intimae' was to end the
concert.  Its first movement perhaps lacked a little tension, but the sound
created by the four young ladies was impressive.  It changed between most
tender, soft passages and almost orchestral sonorities.  It made me wonder
whether this wasn't in fact a symphony.  But then, it was chamber music.
Wonderful.

The second movement was as excellent as the first half had been, taken
pretty fast and attaca as the score demands.  No flaws were audible,
despite the high speed.

The big central Adagio was beautifully sung.  Again, the almost orchestral
sound of this quartet made its contrasts even more pronounced.  The changes
between the romantic and intimate moments were very obvious.  Coherence
wasn't lost, though.  The three e minor chords, which bear the text 'Voces
intimae' by Sibelius' hand for once didn't sound out of place, but an
indispensable part of the movement.

The fourth movement's unhappy dance was very fast again.  The connection
with the Trio of Grieg's quartet thus became obvious.  The interplay
between the four musicians was very fine; this was especially obvious in
this movement.  The Finale was - you wouldn't have guessed - yet again
fast.  The beginning seemed tame, but at Sibelius' piu allegro indication
they did heat a fire which didn't cease for the rest of the movement.
It passed by in a whiz and all on a sudden the dark end arrived.

In all three works the full and warm sound was the most notable feature of
this quartet.  The four ladies are pleasingly self-confident, without ever
bragging.  Only at the applause they were obviously a little embarassed.
Unfortunately, the concert wasn't well attended; a mere hundred of people
was there.  A pity, since the concert was magnificent indeed.  The applause
was justifiedly strong.

If you have the chance to see the Vertavos, run there!

Jan