KCMETROPOLIS.org
Kansas City's Online Journal of the Performing Arts

Last Friday night, the Johnson County Community College welcomed the eminent Takács Quartet to open their Performing Arts Series, now in its 20^th year. Displaying extremely vivacious and enthusiastic playing, it is clear this group has a lasting excitement and authentic enjoyment for sharing and making music together.

The concert began with Haydn’s String Quartet No. 56 in E-flat Major, Op. 71, No. 3. Immediately the group displayed their passion for performing with active energy and individual physicality. Violinists Edward Dusinberre and Károly Schranz were especially animated. A lovely and confidently played solo by violist Geraldine Walther was featured in the second movement, but it was unfortunately covered somewhat by the first violin’s fluttering accompaniment in the high register. Rolling thunder was heard from above during the third movement (“Menuet”), but that did not distract the Quartet from keeping the light, spritely dance rhythms moving. They continued this liveliness through the finale with extremely rapid finger work on extended scalar lines in all parts. The dynamic swells, entrances, and cut-offs were perfectly together, and all sustained an unwavering, clear tone on lengthy and soft passages. Their sound, while unified and mostly well balanced, was perhaps a bit too aggressive for this Haydn quartet. Every so often, a minor bow squeak or slightly rushed pizzicato could be picked out of the more forceful passages.

If the Quartet was too aggressive for Haydn, they were very well suited for Shostakovich’s String Quartet No. 2 in A Major, Op. 68. Each member played the first movement’s main theme with a bold and vigorous intensity. The ensemble’s precise rhythmic attacks and effective dynamics were strong and kept the audience riveted. First violinist Dusinberre deserves special mention for his performance of the sultry and mournful violin solos in the work’s second movement, which, along with the simple, subdued triad maintained by the other three group members, created a deliciously mysterious atmosphere on stage. The third movement introduced a refreshing new timbre unheard yet at that point in the concert – muted strings. It was an interesting sound quality paired with a brisk waltz, which created a sinister mood with a sense of urgency and anticipation. This movement was by far the most compelling of the night.

Schubert’s substantial String Quartet No. 14 in D Minor, D. 810, “Death and the Maiden” ended the evening. The ensemble expertly built momentum in the Allegro, continuing their impressive internal communication between each other. Schranz and Walther were flawlessly in sync on their shared triplet accompaniment figure and cellist András Fejér was particularly stirring and sensitive during his solo in the second movement. While the accompaniment lines were quite active, the other players held back enough to let Fejér really shine. The third and fourth movements were animated and fast-paced, allowing each player a few last chances to flaunt their rhythmic and bowing prowess. Their energy level was notably still high even near the end of such a demanding program.

REVIEW:
JCCC Performing Arts Series
Takács Quartet
Friday, September 10, 2010
Yardley Hall, Carlsen Center
12345 College Boulevard, Overland Park, KS
www.jccc.edu

 Cover Photo: Takács Quartet by Ellen Appel

By Kristin Shafel Omiccioli

Editorial Assignments Executive Editor; Traditional and New Classical Contributor

Kristin Shafel Omiccioli, a native of Madison, WI, holds composition degrees (M.M., B.M.) from the UMKC Conservatory of Music and Dance. Kristin's compositions have been performed at national and regional new music festivals and conferences throughout the United States. During her time at UMKC, Kristin also focused on double bass performance and arts administration. She was a student leader and performer in many of the Conservatory's student organizations and ensembles, including Musica Nova, Composers' Guild, the Conservatory Student Association, the orchestras, and Wind Symphony. Her composition instructors were James Mobberley, Paul Rudy, Zhou Long, and Chen Yi, and her bass instructor was Sue Stubbs. Formerly a guitarist, Kristin performed with big bands and her own jazz combo in Madison, WI, having studied jazz guitar and theory with Roger Brotherhood in Madison and jazz voice and theory with Hal Melia in Kansas City at UMKC.

Kristin enjoys being active in the performing arts community. She has volunteered with the Chamber Music Society of Kansas City and Charlotte Street Foundation, and has played in the bass section of the Northland Symphony Orchestra, among other bass gigs around the metro. Kristin currently serves as principal bass for the Kansas City Civic Orchestra and Heritage Philharmonic, and is a section bassist for Kinnor Philharmonic. She joined the writing staff of KCMetropolis.org in February 2010 and has been KCM’s executive editor since July 2011. Read her blog at mylittleheartmelodies.com.