Originally scheduled for November 3, the Australian String Quartet’s rescheduled concert proved to be yet another remarkable performance, living up to all expectations.
The quartet, featuring Dale Barltrop (first violin), Francesca Hiew (second violin), and Chris Cartlidge (viola), was joined by guest cellist Charlotte Miles, who filled in seamlessly for the exuberant Michael Dahlenburg. Miles brought a serene and composed presence to the stage, enhancing the group’s performance.
The ASQ performed on a stunning collection of 19th-century Guadagnini instruments, known for their extraordinary tonal qualities. Of particular note was the first violin, the “Turin,” which produced an exceptionally sweet and resonant sound.
The program began with Haydn’s String Quartet in D Major, opening with the Allegretto, a movement that started with smooth elegance before swiftly transitioning into a lively Allegro with impeccable timing and bowing. The Largo (Cantabile e Mesto) followed, marked by stately grace and a subtle shift into melancholy rubato. The Menuetto movement, sprightly and buoyant, demonstrated the ensemble’s perfect unity. The final movement (Presto) evoked the sense of a chase or hunt, with the cello responding to the fast-moving violins, ending in a rounded finish. The piece, a quintessential Haydn composition, was reminiscent of moments from his friend Mozart’s works.
Barltrop then introduced the second piece, the first string quartet by Finnish composer Olli Mustonen, warning the audience with descriptors such as “tightly wound,” “ferocity,” and “be warned.” These adjectives proved fitting as the piece unfolded in a thrilling and unsettling manner. Opening with anxious violins and a sorrowful viola, accompanied by the ominous throb of the cello, the piece surged through intense emotions. The musicians navigated between savage dissonance and folk-inspired melodies, evoking a sense of chaotic energy. At one point, the outside thunderstorm seemed to integrate perfectly into the movement, adding to the atmosphere. The third movement, much more Romantic, was described as “hypnotic,” with hints of Ravel. The fourth movement concluded with more calculated dissonance, beautiful cello runs, and dynamic viola passages, eventually breaking through into melody and reaching a frenzied crescendo of synchronized bowing.
The final piece, introduced by Hiew, was Grieg’s String Quartet No. 1, a composition the reviewer was unfamiliar with but found deeply compelling. Hiew described Grieg’s mastery of “small forms” and referred to the movements as fragments that resembled diary entries. The first movement, with its contrasting moods, included phrases such as “generous and grave,” “quick and escalating gypsy,” “almost Brahmsy,” “playful yet swift and sad,” and “a bit Russian.” Hiew’s description captured the diverse emotional range of the piece, with several false endings that kept the audience on their toes.
The fourth movement provided more emotional consistency, offering a sense of relief after the intensity of the earlier movements. This remarkable piece left the reviewer eager to revisit it, as its full depth had yet to be fully appreciated. The ASQ’s flawless performance of Grieg’s work was nothing short of astonishing.
As the Australian String Quartet celebrates its 40th anniversary next year, it is aiming to raise $1 million to support new compositions by Australian composers. The reviewer, already marking 2025 dates in their diary, noted that this is truly exceptional artistry.
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