Review

A String Quartet of a different sort

By Ranga CHANDRARATHNE

In a city, where the only string quartet to be heard regularly is in the midst of a kitschy hotel lobby, where the playlist is generally chosen from the popular album 'String Quartets for Dummies,' the concert of the highly acclaimed 'Diotima Quartet,' presented by the Alliance Française de Kotte was indeed a breath of fresh air. The young French foursome, whose name pays homage to the string quartet by the late Italian avant-garde composer, Luigi Nono: 'Fragmente Stille, an Diotima,' plays contemporary works as well as late 20th Century classics through to the traditional quartet repertoire. Founded by graduates of the Paris and Lyon Conservatories, the 'Diotima Quartet' received the first prize at the London String Quartet Competition in 2000. That same year, they began a two-year residency at the European Center for Chamber Music.

After a 'welcome' drink and a few plates of h'orderves that spun around the Grand ballroom of the Galle Face Hotel, the concert began with the genius of Franz Schubert, although the parsimonious one page program/flyer listed the 7th quartet, they actually performed the 9th quartet in g minor, D. 173. With no mention of the change in the program from the stage, they obviously were testing our true knowledge of the core repertoire! The first movement, 'Allegro con brio' started with a certain caution that was perhaps because they were missing their regular first violinist, Naaman Sluchin. The all important 'chemistry' between players that is usually natured over decades therefore, was not very present in the new configuration, where Yun-Peng Zhao, transferred from 2nd violin to first and newcomer Vanessa Szigeti, filled in on 2nd. The glowing review in the New York Times, published January 18th 2011 of a concert given by the original 'Diotima' at the 'Frick Collection' was not quite the same force that performed at the Galle Face Hotel ballroom on the 25th of September. The difference was tangible. The splendid 'Frick Collection' concert in its entirety is available free on wqxr.org

Setting aside the initial disappointment of not getting what you expected, beggars can't be too choosey. And the fact that the concert was free, with drink and short eat thrown in for good measure, criticism is in bad taste.

The second movement, 'Andantino' was lyrically rendered which made the 'Menuetto, vivace' third movement very czardas-like. The fourth movement, 'Allegro' had all the necessary elements to make one smile in enjoyment.

The ultimate impressionist, Claude-Achille Debussy's ravishing String Quartet in g minor, Op. 10 had 'Diotima' easily display their Gallic pedigree and training. This was by far the most convincingly played work on the program. The first movement, 'Animé e très décidé' was just that, animated and decisive. The second movement, 'Assez vif et bien rythmé had the musicians judge the extensive pizzicato passages expertly. The forceful utterances from the viola were matched squarely by the 2nd violin, not giving an inch. It made for exciting music making. The third movement, 'Andantino, doucement expressif' was simply beautiful.

Although it took two tries, the first interrupted by unusual percussive sounds emanating from the kitchen region of the ballroom, courtesy, needless to say, of the not-too-discreet hotel wait staff. The final movement was truly a study in musical moderation, cannily paced and gently articulated. All in all, an interpretation of intelligence and refinement.

After the intermission, 'Diotima' closed with Bedrich Smetana's emotionally loaded String Quartet No. 1 in e minor, (From My Life). One would have preferred a more intense performance of this seminal work, the playing lacked, one felt, the requisite angst and blood-letting this piece is normally associated with. Having said that, all notes were perfectly in tune and carefully placed between the bar lines. Sorry, no confessionals tonight.

It must be said, the 'Quartet Diotima' did not overstay their welcome, after the finale 'Vivace,' they disappeared back into the service area amidst not-too vociferous applause. No encore for the casual mix of glitterati and genuine music lover this time.

We thank the relevant organizes for bringing in high quality content of this nature, and urge them to keep at it, with the glorious National Theater opening shortly, there will be no more need to compromise with inappropriate venues, no matter how beguiling the short eats are.

And although the concert was advertized as free seating for all on a first come first serve basis, there were intimidating signs of 'VIP' on the best chairs, no matter how early you came, it did not matter, those seats were not for the proletariat. However, if you were deemed a VIP for some odd reason, you could blithely shim sham in half way through the Schubert, make a mockery out of basic concert etiquette, the musicians, music and audience, and still get rewarded with a 'welcome' drink. Exactly, we are almost certain, like what the 'Quartet Diotima' experienced at the 'Frick Collection' in New York City a few months back. Bravo VIP's!