In a night filled with chamber music excellence, the Miró Quartet and acclaimed Chinese violinist Ning Feng shone at the Beare’s Premiere Music Festival in Hong Kong. The festival’s opening program, “Spotlight on the Miró Quartet,” unfolded at the Hong Kong City Hall Concert Hall.
The Miró Quartet, premiering Microfictions by American composer Caroline Shaw, kicked off the evening with an unconventional yet captivating performance. Inspired by science fiction prose posted during a Covid-19 lockdown, the six miniatures were delivered alongside brief readings by each musician. The ensemble’s clean harmonics, led by first violinist Daniel Ching, painted a vivid sonic landscape. Pizzicato passages added texture, while glissandos and chaotic storm imagery brought the compositions to life.
Microfictions, a collection of snippets inspired by T.R. Darling’s online prose, showcased the Miró Quartet’s skill. However, occasional issues with sameness in sound and intensity detracted slightly from the overall contrasts intended by the composition.
The evening took a triumphant turn with Brahms’ String Quartet No. 1 in C Minor, Opus 51 No. 1, leaving the audience in awe. The Miró Quartet’s passionate and animated interpretation, marked by dramatic tension and exquisite poise, justified the enthusiastic applause.
The second part of the festival, titled “The Genius of Mozart,” featured pianists Orion Weiss and Shai Wosner in a remarkable performance of Mozart’s Sonata for Two Pianos in D major, KV 448. Their uncanny unity and balanced contrapuntal interplay brought Mozart’s composition to life with operatic intrigue.
Returning to the stage for Mozart’s String Quartet No. 19 in C major, K 465, the Miró Quartet showcased their versatility. The “dissonance” quartet demonstrated the ensemble’s skillful execution, featuring lighter and more buoyant playing in the opening Adagio-Allegro movement.
The collaboration between Ning Feng, Per Rostad, and Gary Hoffman took center stage in Mozart’s Divertimento in E-flat Major, KV 563 for string trio. Feng’s affinity for Mozart was palpable, with his 1710 Stradivari producing sweet tones woven seamlessly into the ensemble. Rostad and Hoffman contributed to the ambitious heights of the divertimento, delivering a spirited finale that resonated with tight bowing and a deep respect for Mozart’s genius.
In conclusion, Beare’s Premiere Music Festival’s opening night proved to be a celebration of chamber music brilliance, with outstanding performances from Miró Quartet, Ning Feng, and other talented musicians, leaving the audience captivated and inspired.
