Calathea: To start afresh; turn over a new leaf; a new beginning. Also, a great name for a classical quartet, a young quartet at that, and one that already has some heavy-duty artist credits and accomplishments to its name.
Calathea is a true multi-national quartet of artists from Aotearoa,Australia, Ireland and England. There were four new, eclectic beginnings in their first Chamber Music Society concert in Whanganui, on September 26.
The first new leaf was Mozart’s K575 in D Major. Now I know everyone likes Mozart, but I found this quartet a bit skittish as if in trying for the ultimate pianissimo, the top strings were bowing a tad light. The cello anchor was consistent throughout, grounding the first number in all four movements with sweet and competent musicianship.
Gillian Whitehead’s Moon, Tides and Shoreline was greatly enjoyed by the players; they loved the quirky, almost staccato timings and the deeply bowed sonorities of the modern (1991) composition. The quartet showed their love and the audience ‘got it’, leaning forward in anticipation and enjoyment of the new music.
Dame Gillian, a highly respected NZ composer, gained her inspiration (and the title) from a visit to Paekakariki. In this onomatopoeic piece, one can hear the tides eddying towards the shoreline clearly. The moon you have to imagine, but it is there. The Calatheas saw it very clearly.
Imogen Holst’s Phantasy Quartet was just a bundle of fun; to play and to listen to. The quartet obviously loved playing the one-movement piece (which reminded me of so many English compositions of the times); I heard Elgar, Vaughn Williams, and Brother Gustav; not plagiarised, but definitely music of their times. A truly reminiscent and joyous composition.
The Phantasy starts with a marvellous hymn-like tune, reminiscent of all the composers above then mixes in marvellous ‘English style’ harmonies. Super music-making.
Ah, but the Shostakovich was what I was waiting for, and the Calathea Quartet did not disappoint. The lighter playing of Mozart was thrown away for the true and deeply sonorous music making of the difficult and complicated Bflat major (#5). And what a quartet.
The listeners were almost blown backwards into their seats by the absolute total commitment and understanding of Calathea to Shostakovich’s music. Under less competent hands, Shostakovich can be difficult; to play and to listen to.
But this reading was spot on, not one false move; truly breathtaking from the first moments to last, the three movements, although played concurrently, prove to be completely recognisably - separate, with a motif formed in the first movement repeated throughout.
All four artists are featured equally in solo and ensemble playing. The excitement of listening to a quartet such as this at the top of their game is simply wonderful.
I hope this first visit to Whanganui will not be their last.
