Playing something beautiful is an elusive enough quest for a quartet. Trying to say something new, through either historical or contemporary repertoire, is an additional challenge. “Sounds From the Past” showed four players wrestling with many of the same questions as their peers in pursuit of both these goals. The Arneis Quartet has more than proven itself a capable ensemble in both these arenas.
This Boston-based ensemble presents an all-American evening, including Ruth Crawford Seeger’s serialist String Quartet (1931) as well as works by Massachusetts Institute of Technology faculty members John Harbison and Elena Ruehr.
The Arneis Quartet was augmented by guest violist Joan Ellersick. The opening Allegro con moto came forth with an easy rapport from the start, and the composer used the extra viola as an independent voice as well as to add subtle extra mid-range richness.
[Braun's] solos as first showed a care and intensity to her craft, forceful enough to take control of the quartet but not overpowering, passionate and aggressive but not overbearing. It was wonderful to hear this realization of the modern principle of equally distributing material throughout the quartet landscape, letting a skilled hand to show her musicianship. The others did fantastically with the far more limited material given to them, making each instrument sound like an individual rather than a support mechanism.
Kravitz and the Arneis have been collaborating on a similar concert program for several years now, one that grew out the poetry of another American iconoclast, Walt Whitman (who figures prominently as a character in “Supermarket”).
Reviews of 'John H Wallace: Pale Reflections'
The performance side of this album is expertly handled by the Arneis Quartet, three of whose members play in the highly esteemed Emmanuel Music orchestra in Boston. Ensemble, tone, and atmosphere could hardly be improved.
Reviews of 'John H Wallace: Pale Reflections'
This is a remarkably crafted performance from the Arneis Quartet and Victor Carres. The intensity of the nine-minute first movement is perfectly carried through; for the second movement, strings are pizzicato throughout and the piano adds the most delicate, almost music box contributions.
In this unfamiliar repertoire, what stood out was their versatility and balance. As realized in the over-brightly lighted Morse Auditorium, the former Temple Israel on Commonwealth Avenue, their sound had a dark but soft-edged quality in the Berger; the List brought out more muscular, even violent, emotions, still expressed with a round and focused tone. The fifth movement of the List showed off a keen sense of individual voice, as the ear could perceive each independent line clearly enough that the brain had to race to try to make sense of each one separately.
As the concert drew to a close, the logic of the programming sank in—with a first half so sublimely played and a second half so intriguing, the pairing was ultimately very satisfying, the excitement remaining days later.
Near the end, a more extended fragment of “Frage” is quoted, and if the song’s text doesn’t provide a definitively affirmative answer, Mendelssohn’s music did in the Arneis’s compelling performance.
The Arneis String Quartet seems to have chosen its name well. The Arneis grape has traditionally been used to blend with harsher wines to soften them, but on its own, the wine it produces is a crisp, full-bodied white, with floral and fruit notes, according to aficionados. So it is with the sound this quartet produces. No single member stands out; each rather brings his own voice to the whole, and the blend is singularly beautiful: sweet but with the sweetness of clear water— not at all cloying.
The Arneis Quartet is doing everything right...as a relatively young quartet, they have already achieved something it often takes years to develop: a unique, collective sound which is as warm and full of sparkle as liquid gold.