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JSQ performs at Von der Mehden Recital Hall (Storrs, CT)
Posted: 4/26/06
Juilliard Closes In Style
"This was the best year for a university concert series in the country," said Dr. David G. Woods,
dean of the School of Fine Arts, referring to the privilege of having the Boston Pops, Munich
Philharmonic, London Philharmonic and Jerusalem Symphony Orchestra, all in Jorgensen's 50th
Anniversary Concert Series this year. As the last week of classes comes to an end, the Juilliard
String Quartet makes a "best year" even better.
Anxious chatter erupted into an awakening applause in favor of four showmen dressed in their
finest black tuxedos. Like an 18th century form of the Beatles they marched across stage
carrying their violins, viola and cello to a festively-packed occasion in von der Mehden Auditorium
Tuesday night.
The applause grew as they gave their smiling greeting bow and then the audience froze to a stiff
silence as the men comfortably assumed their positions.
For the next two and a half hours they sat, effortlessly combining their refined technique with their
dignified expression to grab the audience with a delicious program of Schubert, Brahms and the
contemporary Argentine-American composer Ezequiel Viñao.
Opening with Schubert's zesty Quartettsatz first movement in C minor, "The Unfinished Quartet,"
Joel Smirnoff showed off his virtuosity in fast melodic flourishes that tugged at the audience
leaving them captivated and in suspense for what else would unfold. This was followed by a
welcoming applause, to which the men left the stage as the doors opened in the back allowing
even more late arriving audience members to enter.
Next was a piece commissioned by Juilliard last year for it's 100th anniversary,
being performed here just in time to pass the torch for Jorgensen's 50th anniversary.
Composed by Ezequiel Viñao, it was titled "The Loss and the Silence." It was
influenced partially by a line by J.R.R. Tolkien and had a very cinematic quality
in the way the quartet was utilized.
There was an abundance of all sorts of orchestral effects in which a listener
might not recognize a string quartet. In the Adagio, the harmonies combined to
make a sound similar to a dark brass section reminiscent to something from
"Batman." Rhythmic gestures were very convincing when the cellist dug into
the strings to make a vibration that rumbled similar to mallets on a timpani.
Harmonics of the strings were being sung and the amount of control as an
ensemble was astonishing. The audience was very drawn into the eerie sounds
and never became bored or distracted. During a quiet, slow section, the grumble
from the sky outside von der Mehden actually became a part of the piece and
added to the stillness. Overall this piece was very effective.
After intermission the last piece on the program was Brahms' Quartet in B-flat Major, Op. 67, no. 3.
It was warm way to end the performance. The andante gushed with romanticism leaving the
audience touched and in silence while the ending movement was celebratory and ended brightly
to a standing ovation.
One more anniversary became celebrated in the recital hall in the form of an encore. What could
be more appropriate than Mozart, being his 250th anniversary this year? A crowd pleasing Allegro
from K. 590 gave a peppy smile for everyone in sight. The short movement gave an opportunity
for all four men to share a solo line that they pass, similar to a solo section, as they allowed
Mozart's notes to even make themselves crack smiles. The horsehairs on their bows began
tearing out and dangling down the sides of their instruments as they rubbed them like a happy
bunch of crickets in their tuxedos, sending everyone home with a smile.
"It's wonderful to have internationally renowned performers coming to campus, because it shows
solidarity with the fine arts we create on campus," said Dr. Bette Talvecchia, an art history professor,
amongst the packed von der Mehden Auditorium.
-Joe Infurchia
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