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Quartet Delivers a Refreshing Take on Classical Repertoire

by Madonna

On Friday, classical piano enthusiasts faced a tough decision, with two international stars performing simultaneously, resulting in neither artist receiving the audience they deserved. The previous night, the Wesley Music Centre should have been filled to capacity for the remarkable Alma Moodie Quartet, but I was fortunate to be among the select few in attendance.

Named after the exceptional Queensland-born violinist Alma Moodie, who gained acclaim in Europe during the early to mid-20th century, this quartet has quickly built a reputation for its dynamic repertoire and innovative approach, despite being relatively new. Kristian Winther and Anna Da Silva Chen alternate between first and second violin, with Thomas Marlin on cello. The quartet has seen a few violists come and go, but current guest James Wannan seems poised to become a permanent member.

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The evening’s program featured Mozart’s String Quartet in D minor (K421), Debussy’s String Quartet in G minor Op 10, and Schubert’s String Quartet in D major D887, which Winther described as “possibly our most conservative program ever,” although the performance was anything but conservative.

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The quartet’s on-stage chemistry is nearly as captivating as the music itself. Winther’s expressions might evoke Shakespeare’s line about reading “the mind’s construction in the face.” However, their performance was devoid of pretense, showcasing the genuine investment and joy each musician felt in the music and their collaboration. As the newcomer, Wannan exemplified attentiveness, integrating seamlessly into the group.

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The Mozart quartet was a delight, featuring a deft and dramatic allegro, followed by an andante that seemed controlled until it erupted into passion, creating a wave of musical phrases that cascaded around the instruments before resolving. The menuetto and allegro were spirited and flirtatious, while the allegretto displayed a depth and delicacy that left the audience entranced, concluding with playful cadences from the first violin. The quartet’s expressions at the end revealed their satisfaction; they delivered an exceptional performance and they knew it.

The Debussy was equally impressive. It was the first string quartet of its era that wasn’t German or Russian and was reportedly a favorite of Schoenberg, which I can overlook. The quartet launched into the piece with a physical flourish and an audible intake of breath, showcasing impressive dynamics and generosity. The Andantino Doucement Expressif movement, in particular, fulfilled its title, with the cello part played with care and tenderness, while the final movement was rich, nuanced, and occasionally Gothic in tone.

The second half of the program focused on Schubert, which Winther described as his last, longest, and most challenging quartet. The Alma Moodie Quartet’s interpretation revealed their genius—while the notes remained the same, their fresh, impassioned approach made the piece feel almost new. Chen’s first violin shone with determination, grace, and a delicacy that was anything but fragile. The lively final movement, Allegro Assai, was performed at a fever pitch, con brio, con gusto, showcasing extraordinary synchronization and control.

These charismatic performers bring innovation and excellence to otherwise familiar works. If you have the opportunity to experience them, don’t let it slip away.

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