Skampa Quartet - Reviews

Beethoven in Magical Intimacy

The Skampa Quartet in the Herzog-August-Saal

by Doris Kösterke

WIESBADEN. Even the beginning was original: The Skampa Quartet started their concert in the Herzog-Frierich-August-Saal with “Fratres” by Arvo Pärt – not in the spartan version Pärt himself arranged for string quartet, but in their own adaptation after Pärt’s version for string orchestra and percussion (a more conscientiously edited programme booklet would have explained this fact). The prayer-like melody shone through the clutter of high virtuoso piece-work – of the solo violin at first.

Tuned to the most sensitive

Woodblocks marked the beginning and end of each stanza. The cellist’s bourdon sound tapestry was tuned to the most sensitive, while a cadence-like interpretation of a stanza corresponded to each instrument. The last stanza was the most enchanting, when the melody floated once more in highest flageolet sounds above the chorale. Thus put in the mood, the audience heard a rather fragile Beethoven in the following quartets, op. 59/2 and the late op. 135. Already the repetition of the exposition in the first movement of the e minor quartet seemed – in defiance of the quite speedy allegretto – interrogative, searching. The second movement gained magical intimacy by repeatedly approaching the barely audible. The third and fourth movements were all the more fiery and intoxicating, which generated cheers and bravos. The violins and viola of the Skampa Quartet created their smooth virtuoso tension standing upright. The intensity of expression often stands in contrast to the cool looks of first violin Helena Jiríkovská.

With rich timbre

Daniela Soucková is the ideal partner, who knows how to merge her sound with that of the first violin or alternatively – depending on the situation - to confer her very own colouring on her repeat motive in order to bestow the whole texture with an effective increase in mutual tension. From his “American” positioning on the right hand side of the quartet Radim Sedmidubsky can address the audience directly with the rich timbre of his viola when he needs to convey something to them. Playing while standing is especially helpful here. Only the cellist, of course, needs to be seated. To keep him in close proximity to his co-musicians the quartet has elevated him on a podium. Lukás Polák is a congenial unconventional “hallmark“, at times playing on the edge of his instrument’s sound capacity. After the Kapralova Quartet in April, „Die Kammermusik“ Society has enabled us to experience yet another top ensemble.

Wiesbadener Kurier, 23 October 2008