Instruments were so in tune, they spoke to each other (and to us)

A DRIVE through beautiful autumn countryside prefaced a magical hour with the Slate String Quartet, a recently formed group of young talented string players.

The group, Isabella Todes (first violin), Jenny Clare (second violin), Carys Barnes (viola) and Oona Lowther (cello), brought their talent and love of music to entertain and charm the small, packed audience.

The afternoon concert comprised three glorious pieces of chamber music: Haydn’s quartet, Opus 20 No. 2, Imogen Holst’s Phantasy Quartet and Beethoven’s quartet Opus 18. No. 4. The exposition of this rich palate of music was confident, vibrant and expressive.

The concert started with Haydn’s second quartet in C major, an excellent choice as many consider this to be the best of his very many quartets. It was written in 1772, an important time in the development of the quartet. The Slate Quartet delivered this with verve and enthusiasm allowing each instrument, especially the cello, moments of glory starting in the first theme.

This is a dramatic piece, with bursts of energy, quiet passages and beautiful melodies bubbling through from beginning to end. There was an observable high level of sympatico among the players which was maintained throughout the concert. The four instruments were notably talking to each other as well as to us.

Holst’s Phantasy Quartet, written in 1928 when she was 20, was an interesting choice for the second item. A significant 20th century composer, as well as conductor, director of festivals and associate of Benjamin Britten, Imogen was the daughter of Gustav Holst.

Written nearly 150 years after Haydn’s quartet which opened the concert, this piece was indeed a contrast, bringing us into the world of exciting 20th century music. This is a warm, harmonic piece with big, exciting splashes, changes of tempo, intensity, scale and tricky chords.

Throughout the patches of turbulence, the beautiful melodies, mainly sung by the first violin, glimmered and shone through. The delicate well controlled diminuendo at the end was especially lovely. This music written by and played by young musicians was full of emotion and hope: a truly moving performance.

The third item on the programme, Beethoven’s Opus 18 No. 4 Quartet in C minor, also expressed torment as well as beauty (of course, this is Beethoven) but perhaps here the audience was on more familiar territory.

The first movement, Allegro ma non tanto, put us at our ease with the recognisable repeated phrases and the cello and violins leaping and bounding upwards and onwards.

In the second, Andante scherzoso, we heard the violins call and viola and cello respond while they danced along. This empathetic playing was also apparent in the third movement where the players kept their balance as the timing and emphasis of the music set traps.

The fourth movement, Allegro — Prestissimo, was accomplished with aplomb, played very rapidly indeed but never losing musicality. A wonderful conclusion.

Susan Edwards