{"id":1185,"date":"2020-02-19T12:40:04","date_gmt":"2020-02-19T12:40:04","guid":{"rendered":"http:\/\/wp.lancs.ac.uk\/subtext\/?p=1185"},"modified":"2020-02-19T12:55:00","modified_gmt":"2020-02-19T12:55:00","slug":"widdens-review-piano-quartet-concert-in-the-great-hall","status":"publish","type":"post","link":"http:\/\/wp.lancs.ac.uk\/subtext\/2020\/02\/19\/widdens-review-piano-quartet-concert-in-the-great-hall\/","title":{"rendered":"WIDDEN’S REVIEW – PIANO QUARTET CONCERT IN THE GREAT HALL"},"content":{"rendered":"
Contributed by Martin Widden<\/span><\/div>\n
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This concert on 30 January 2020 was given by a quartet of violin, viola, cello and piano – a fairly unusual combination, because the modern concert grand can easily drown out the three strings. But Mozart, that brilliant pioneer in all things musical, wrote three works for this combination, and of course he set a very high standard for everyone who followed in his footsteps. Even though the modern grand piano is far more powerful than the pianos of Mozart’s day, he wrote in such a way that (in the hands of skilled performers) the strings always seem to be equals of the keyboard instrument.<\/span><\/div>\n
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Not only were the three Mozart piano quartets object lessons in how to write for this group of instruments – they are also marvellous pieces of music. So it was entirely appropriate that this concert opened with a Mozart piano quartet, K 493 in E flat. It formed a highly satisfying beginning.<\/span><\/div>\n
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The second item in the programme was a piano quartet by the Latvian composer Peteris Vasks. Vasks was born in Aizpute in 1946 into a Baptist family. At that time Latvia lay behind the Iron Curtain, and his Baptist faith prevented him from studying composition as he wished. He therefore moved to neighbouring Lithuania, where he was able to study at the conservatorium in Vilnius. Since the Iron Curtain was lifted in 1991, he has been able to travel and work elsewhere, and has followed a mildly international career, working in Sweden, Austria, Estonia and (surprisingly) Wales, where he was composer-in-residence at the Presteigne Festival in 2006.<\/span><\/div>\n
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His music is sometimes considered minimalist, and is compared with the works of Penderecki, Lutoslawski, Arvo P\u00e4rt and George Crumb. The quartet is skilfully written and was remarkably well played, since the performers had had rather limited time for rehearsal. However, its duration of some 40 minutes didn’t seem totally justified by the rather repetitive material.<\/span><\/div>\n
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The concert finished with the Opus 25 quartet by Brahms, written when Brahms was reaching the height of his powers. All four movements of this quartet are wonderful music, but possibly the final movement, a gipsy rondo, is the most outstanding. It finishes with a fast section marked presto, which is very exciting music, to which it is easy to imagine dancing taking place in an increasing frenzy.<\/span><\/div>\n
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The three string players, who have taken the name Moricosta Trio, are all members of the BBC Philharmonic, so they are used to playing together; and Martin Roscoe is a well-loved pianist who lives locally. They played together remarkably well, and this was a very satisfying evening.<\/span><\/div>\n
<\/div>\n","protected":false},"excerpt":{"rendered":"

Contributed by Martin Widden This concert on 30 January 2020 was given by a quartet of violin, viola, cello and piano – a fairly unusual combination, because the modern concert grand can easily drown out the three strings. But Mozart, … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":568,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[21],"tags":[557,63],"class_list":["post-1185","post","type-post","status-publish","format-standard","hentry","category-contributed-article","tag-issue-192","tag-martin-widden"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p99sHo-j7","jetpack-related-posts":[{"id":957,"url":"http:\/\/wp.lancs.ac.uk\/subtext\/2019\/04\/02\/an-exceptional-piano-recital\/","url_meta":{"origin":1185,"position":0},"title":"AN EXCEPTIONAL PIANO RECITAL","author":"Johnny Unger","date":"April 2 2019","format":false,"excerpt":"Review by Martin Widden Some years ago, with help from the Friends of the Lancaster Concerts, the University bought a new Steinway concert grand piano for the Great Hall. Our old Steinway had reached the stage where good pianists were complaining about the state of it, and seemed quite likely\u2026","rel":"","context":"In "contributed article"","block_context":{"text":"contributed article","link":"http:\/\/wp.lancs.ac.uk\/subtext\/category\/contributed-article\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":157,"url":"http:\/\/wp.lancs.ac.uk\/subtext\/2017\/11\/09\/martin-widden-he-pulls-no-punches-and-tells-it-like-it-is\/","url_meta":{"origin":1185,"position":1},"title":"MARTIN WIDDEN: ‘HE PULLS NO PUNCHES, AND TELLS IT LIKE IT IS’","author":"Johnny Unger","date":"November 9 2017","format":false,"excerpt":"Review: Scarlatti and Cage in the Great Hall Domenico Scarlatti (born Naples in 1685, and so an exact contemporary of J S Bach) wrote over 500 sonatas for harpsichord, nearly all of them short and in just one movement of simple AABB form - two halves, each of them repeated.\u2026","rel":"","context":"In "contributed article"","block_context":{"text":"contributed article","link":"http:\/\/wp.lancs.ac.uk\/subtext\/category\/contributed-article\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":462,"url":"http:\/\/wp.lancs.ac.uk\/subtext\/2018\/03\/15\/martin-widden-red-pilling-the-music-industry-one-concert-at-a-time\/","url_meta":{"origin":1185,"position":2},"title":"MARTIN WIDDEN: \u2018RED PILLING THE MUSIC INDUSTRY, ONE CONCERT AT A TIME\u2019","author":"Johnny Unger","date":"March 15 2018","format":false,"excerpt":"Review: Kathryn Stott It is often asserted that the sound of a violin improves in a period when it is being played quite intensively. And not only the violin - similar claims are made for other stringed instruments. Such claims are widely believed by musicians, but although careful scientific tests\u2026","rel":"","context":"In "contributed article"","block_context":{"text":"contributed article","link":"http:\/\/wp.lancs.ac.uk\/subtext\/category\/contributed-article\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":540,"url":"http:\/\/wp.lancs.ac.uk\/subtext\/2018\/05\/10\/martin-widden-snowflake-musician-melter\/","url_meta":{"origin":1185,"position":3},"title":"MARTIN WIDDEN: ‘SNOWFLAKE MUSICIAN MELTER’","author":"Johnny Unger","date":"May 10 2018","format":false,"excerpt":"Review: Debussy 100 The present year, 2018, is being observed as the centenary of Debussy's death right across the musical world. Why the fuss about Debussy? Debussy's music is unlike that of any previous composer. Indeed, the music critic Paul Griffiths has written that 'if modern music may be said\u2026","rel":"","context":"In "review"","block_context":{"text":"review","link":"http:\/\/wp.lancs.ac.uk\/subtext\/category\/review\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":861,"url":"http:\/\/wp.lancs.ac.uk\/subtext\/2018\/12\/17\/martin-widden-wielding-his-pen-like-a-knife-to-the-heart\/","url_meta":{"origin":1185,"position":4},"title":"MARTIN WIDDEN: ‘WIELDING HIS PEN LIKE A KNIFE TO THE HEART’","author":"Johnny Unger","date":"December 17 2018","format":false,"excerpt":"Review: Leeds Piano Competition Winner gives first-class recital The Great Hall concert on Thursday 1 November was a solo piano recital by Anna Tsybuleva, winner of the 2015 Leeds Piano Competition. 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