Konsertrecension: Responsive but sprawling games of the vertavo quartet

Thirty-five years!

the unique long Norwegian vertavo quartet worked. But then, they also started at the tender teenage years, and put together the ”Vertavo” of their last name. Today there remains only the ”vo” in the form of primarien Øyvor Volle – the twins Berit and Bjørg Værnes has married itself to the new surname.

”Take” has been superseded by Annabelle Meare, everyday stämledare in the Philharmonia Orchestra. In England also plays the cellist Bjørg, married to the distinguished pianist Paul Lewis. Volle can be found at the göteborg opera as concertmaster, while the last primarien Berit Cardas is holding the fort in the Norway as a leading violinpedagog. Today she is the quartet a living playing.

and the posts have Vertavo nevertheless managed to remain one of northern Europe's leading string quartet. At home in Norway they are to celebrate in the fall with all – all – haydn's closer to seventy string quartets in one weekend!

Here at Stockholmsbesöket we had to content ourselves with the no. 58, the spralligt resourceful F-durkvartetten with its initial fanfare. Certainly gave me a strong desire to book a Norgebiljett to the autumn Haydnmaraton, but at the same time tracked I a certain spretighet in the game. While the violinists Volle and Meare responsive samtvinnar their voices, will be performing the viola and cellosystrarna more holistic. It became clear in the famous fugue-intro to Beethoven's iconic ciss-mollkvartett, where the vibratolösa violinernas efforts were answered with patosfylld sound from the lower strings.

Overall presented a balanced soundstage, with the domination of cellon. Or if it is Volles genuinely elegant tone that is too thin in this context. I also lacked a well thought out plan for the forty-minute uninterrupted walk through Beethoven's sjusatsiga construction. But fascinating to follow.

first string quartet, performed Vertavo a long-awaited vindication. Previously dismissed as kvinnohistoriskt interesting, appears finally as a of course, the main work in american chamber music.

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