Ariel Provides Overview Midway in Beethoven Cycle
The Ariel Quartet, string quartet in residence at the
University of Cincinnati College-Conservatory of Music, reached the midpoint in
their traversal of the complete quartets of Beethoven Feb. 22 in Corbett
Auditorium.
With one quartet each from Beethoven’s early, middle and late periods, the concert provided a welcome overview of these canonic works.
Alexandra Kazovsky and Gershon Gerchikov, violins, Jan Grüning viola, and Amit Even-Tov, cello, opened with Op. 18, No. 3 in D Major, with Kazovsky on first violin. From the genial Allegro first movement to the Presto finale, it was a reading marked by good humor, warmth (in the splendid Andante) and a sense of propulsion, especially in the final two movements. (One sometimes got the feeling, in fact, that the players were in a bit of a hurry to get it over with.)
Gerchikov moved to first violin for Op. 59, No. 2 in E Minor, one of Beethoven’s three “Russian” quartets, named for the Russian ambassador to Vienna, Count Andrey Razumovsky. There were many lovely moments here: in the first movement Allegro with its quizzical opening theme, the wonderfully serene Adagio (supposedly conceived by the composer on a starry night) and the Allegretto – Maggiore, with its “Thème russe.” The latter, occurring in the mid-section of the movement, is the patriotic theme “Slava,” familiar from many other contexts (Tchaikovsky, Mussorgsky, etc.) and was inserted by Beethoven in response to Razumovsky’s request that he utilize Russian themes in the quartets.
The highlight of the concert was the concluding work, Beethoven’s Op. 131 in C-sharp Minor. The seven-movement work, composed without breaks, was beautifully laid out, with all of the contrast and reflection the composer built into it (Kazovsky again played first violin). The deeply felt Adagio set a serious tone, succeeded by a bright, optimistic Allegro. The central Andante, a lengthy theme and variations, was beautifully laid out, with a wealth of expression and precise communication among the players.
The jolly Presto was a delight, giving way to a final moment of seriousness before the aggressive, galloping final Allegro.
The cycle continues March 25 in Corbett Auditorium with the
quartets Op. 18, No. 4 in C Minor and Op. 59, No. 1 in F Major (“Razumovsky”).
The final concerts are March 27 and 29, also in Corbett Auditorium). Information
and tickets at ccm.uc.edu/boxoffice/arielsubscription.html