Bach, Schostakowitsch, Schubert
Back to the Mozarteum for another chamber concert, this evening with the Hagen Quartet (for Bach and Schostakowitsch) joined by Sol Gabetta for Schubert.
Signature works made up the first half of the concert. Contrapunctus I-IV from Bach’s Art of the Fugue opened the program – each building from Bach’s B-A-C-H signature notation. Bach wrote these more as mathematical exercises than as musical composition, and while they have served – and been rightfully admired – as a good technical manual on fugue-writing for centuries since, they do seem rather too technical. Tonight’s performance bore that out.
Without a break, the Quartet went directly into the Schostakowitsch String Quartet #8, which updated Bach by over two centuries, substituting the Russian composer’s own D-S-C-H musical signature. Where Bach was technical, Schostakowitsch became emotional. Composed in the midst of a depression in his life, the movements were varyingly somber and angry. They borrowed some language from the composer’s Cello Concerto, which I heard in a desolate interpretation with Clemens Hagen, the cellist in this quartet, back in May.
After the intermission came something completely different – or at least somewhat different. Schubert’s late masterwork, his String Quintet composed shortly before his death, filled the second hour. In the quieter parts, the musicians played almost delicately, looking backwards to capture aspects of Bach’s Art. For the larger more raucous moments, particularly inside the Adagio, they struck up agressively, looking forward to the Schostakowitsch. But for playing that was both robust and lyrical at the same time, we needed to wait until the final movement.
On the whole, the permance was technically fine but generally lacked the necessary lyricism. Maybe they should not have started with Bach’s exercises, as their tone never really expanded enough thereafter.