Hot on the heels of three sold-out shows at the Carré Theater, Amsterdam with Dutch indie-pop band, Haevn, the Viride String Quartet travelled deep into the Dutch countryside for a concert in the charming Het Stift, Weerselo featuring three works each exploring an absence of love.
The programme
I first encountered this young quartet on Dutch TV programme, Podium Klassiek. They were in masterclass with Dutch-English violinist, Daniel Rowland – Artistic Director of the Stift Festival. An invitation to play in rural Twente countryside followed. I was impressed by their ability not only to push the boundaries, but to breathe as one and to let the inner parts shine. Hopefully we would see these qualities live in concert.
A little Haydn…
Haydn wrote his String Quartet Op. 20 no. 1 in C whilst in service to Prince Esterhazy who kept court for the majority of the year in his rural retreat, the palace of Esterháza. Unable to convince with words, Haydn used this music to plead with his master to let the musicians return to their families in distant Vienna.
The Viride’s tone was warm and full-bodied. But it was the Adagio and Haydn’s pleading which impressed the most as a cello melody overflowing with pathos, delved deep. Marred only slightly by some uncharacteristically violent accents, I concluded, Haydn must have been very frustrated that day. All very Sturm und Drang!
A Dutch Quartet portraying love drawing to a close
In keeping with their stated desire to perform the music of neglected Dutch masters, and continuing the theme of an absence of love, Henriëtte Bosmans’ String Quartet proved to be an inspired choice. Bosmans grew up in a musical household at the beginning of the twentieth century. Father, Henri Bosmans was principal cellist of the Royal Concertgebouw Orchestra under William Mengelberg. Mother, Sarah Benedicts, a piano teacher at the Amsterdam Conservatoire. The quartet, completed in 1827 as her relationship with Dutch cellist, Frieda Belinfante was coming to an end, sits on the very cusp of radical change which was sweeping through Europe at this time.
An opening solo viola theme giving more than a nod to British composer Ralph Vaughan-Williams, 20 years her elder, started proceedings. However, unexpected harmonic paths soon directed us away from the warmth of English folksongs. Although strong bass lines dominated, ample material for the inner parts to shine provided an extra dynamism as unexpected twists and turns gave way to expansive melodies over slowly shifting chords. Delicious undulating harmonies in the Largo evoked images of lazy afternoons spent gently rocking on Amsterdam’s many waterways. Bringing the Lento to a close, a rising three-note-figure full of plaintive longing was to die for.
This is not an indulgent work. Instead, it is hugely attractive and quite rightly deserves a renaissance.
The absence of love continued in Bartok’s String Quartet no.1 in A minor.
Written after suffering a period of unrequited love, the first movement, informally entitled “My Song of Death”, set the scene with magical downward leaps and dramatic outpourings. As the quartet built and maintained the intensity, never forcing the sound, we discovered a death filled with pain. Anguished melodies pleaded, almost begged before distant pizzicatos trudged through a heavenly mire. Uncertainty hung in the air settling momentarily, only for the pace to quicken and the reappearance of those troublesome cello pizzicatos knocking at heaven’s door.
The Viride Quartet | Salomé Bonnema | Nadia ten Kate | Sedna Heitzman | Jurre Koopmans
Having met as teenagers, this hugely talented quartet, each performing at the highest level, but together creating music which calms, challenges, amuses and entertains, are definitely one to watch. Their knack for story-telling and tempting audiences into less well-known repertoire, is compelling and will win them many fans.
Further listening
Listen to the Bosmans String Quartet
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This concert was reviewed on Sunday 24th November 2024 in Het Stift, Weerselo
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