Concert Review
Solem String Quartet 10th March 2025
The Solem String Quartet brought an enterprising programme to Penrith for their Music Club recital and performed it in great style.
Unusually, half of the ensemble are temporarily absent on maternity leave – first violinist Amy Tress and cellist Stephanie Tress. However, their replacements, Zahra Benyounes and Jessie-Anne Richardson, highly experienced chamber players, fitted in seamlessly with the regular second violinist and violist, William Newall and Stephen Upshaw to create quartet playing of the highest quality.
The Dutch pianist and composer Henriette Bosmans (1895-1952) wrote her only string quartet in 1927. Its three movements ranged from a pentatonic melody at the start plus whole tone scales, a pensive slow movement and an arresting finale driven by vigorous rhythms. The Solem Quartet gave a persuasive performance of this unfamiliar piece.
A century before, in 1826, Beethoven finished his final string quartet: op. 135 in F major. The Solem Quartet demonstrated fine control and understanding of his last musical thoughts. The first movement’s unsettling ebb and flow caused by constant dynamic quirks and abrupt key changes was managed with telling ease; the Scherzo was despatched with impressive unanimity, especially the syncopated outbursts and the first violin’s athletic display in the Trio section. Throughout the slow Theme and Variations the subtly balanced quartet sonority produced the deep calm for which Beethoven is renowned. Bright and playful, the finale rounded off an outstanding performance.
Two French pieces made up the second half: first a quartet arrangement by Amy Tress of Three Pieces for cello and piano by Nadia Boulanger (1887-1979) which proved an attractive mixture of moods. While the cello played the melody in the first piece the material was passed around the instruments – a useful addition to the quartet repertoire. Debussy’s Quartet, composed in 1893, was another tour de force. The opening fiery theme riveted attention and Debussy’s seductive harmonies were relished by all four players. The Scherzo is a brilliant combination of textures – a staccato repetitive theme with flying pizzicato – all performed with immaculate precision. Muted strings in the slow movement (doucement et expressif) contributed to the dream-like atmosphere; Debussy then uses the finale to sum up much of the music already explored – the slow start and acceleration to a brisk tempo was well managed; the rest was an exceptional celebration of fine quartet playing.
John Upson
