IN CONCERT: Zankel Hall at Carnegie

ROSSETTI CHARM / THIBAUDET MAGIC

As the members of the Rossetti String Quartet took their places on Zankel Hall's center stage, each with burnished instrument in hand and unconventionally attired in concert hall casual, one knew right away that the Quartet's NY City debut was going to be an evening of pleasant surprises. As indeed it was, beginning with a program that highlighted their versatility and artistic strengths both as an ensemble and as individual musicians.

The program began on a joyful note, Mozart's G-Major Quartet K.387, the first in a set of six quartets that a youthful Mozart dedicated to Haydn. Composed in a new style emulating Haydn whom he greatly admired, it is a piece that sings with endearing lyricism. The Rossetti Quartet played it with nuanced expressivity, refreshing spontaneity, and brilliant musicality.

Listen to an excerpt and lilt to the thematic melody of the first movement (allegro vivace assai) - and be charmed by the Rossetti Quartet's colorful style of music-making.*

Fast-forwarding to the end of the 19th century, the Quartet then played Debussy's first mature chamber music work, the String Quartet in G Minor, Op. 10. Like Mozart's quartet, it marks a turning point in the development of the genre, but there the similarity begins and ends. As one can readily tell by listening to the opening strains of the first movement (Animé et très decidé)*, Debussy has clearly broken away from the strictures of Mozart's classical structure. In its place: seemingly endless variations on a theme pursued in free form, somber tones that echo turn-of-the century anxiety, intricate rhythms. But the Rossettis are quite at home with Debussy and play his music with passion and such exquisite phrasing that soon we, the audience, are excited about the music and begin to feel quite at home with Debussy as well.

The evening's most complex work was deservedly saved for last. Cesar Franck's Piano Quintet in F Minor, composed in 1873, filled the program's entire second half. Still classically structured, it foreshadowed Debussy's musical innovations through its use of the "cyclical form" - the recurrence of a single theme in various places through all three of the work's movements. At the work's premiere in 1880, it was the great French composer Camille Saint-Saens who played the piano part. Interestingly, it is perhaps today's foremost interpreter of Saint-Saens' piano works who is one of the Piano Quintet's most enthusiastic performers - Jean-Yves Thibaudet - who this evening played the piano part, lending his now fabled magic to the Rossetti charm. Together they played to a rapt audience - traversing with great artistic skill and intense dynamism the broad emotional range, and to the last fiery note, of Franck's challenging chamber masterpiece. It was a performance worthy of the audience's thundering ovation. Still brimming with energy, the quintet graciously reciprocated with an encore that ended the evening on a lively, joyous note - the Scherzo from Dvorak's Piano Quintet.
- © GC/FanFaire 2004

Notes:
1. The concert took place in Zankel Hall at Carnegie Hall, NY on April 27, 2004.
2. Go to CALENDAR for the Rossetti Quartet's upcoming performances.

Quartet Photo: Christian Steiner, courtesy of Colbert Artists Management Inc.
Thibaudet Photo: FanFaire.com




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THE ROSSETTI STRING QUARTET

NINA BODNAR HENRY GRONNIER
ERIC GAENSLEN THOMAS DIENER

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