The players showed their huge dynamic range at the start of Schubert’s Quartettsatz; ensemble and intonation were superb and there was unashamed use of expressive rubato, a thoroughly romantic interpretation.

Then came Shostakovich’s Second Quartet. At the previous concert the players had spoken to us about the music they played and I’d hoped this might be the case for this piece. But there was no need so well did their performance put across its shifting moods. The virtuosic demands of the often ferocious first movement were fully met. First violinist Mihaela Martin gave the slow movement’s protracted recitative-like solos great depth of feeling in music that in less impassioned hands could seem over-extended. The troubled subtext of the strange muted quick waltz that followed was fascinatingly explored. The finale, variations beginning almost laconically but growing towards a cathartic climax is a real challenge for the players. Cellist Frans Helmerson showed powerful attack and second violin Stephan Picard’s wistful solo towards the end was equally telling. The audience’s enthusiastic response to this disturbingly communicative performance said it all, a truly vivid and memorable experience and in the hands of these players not a moment too long.

Beethoven’s Third Rasumovsky Quartet  brought the concert to a richly satisfying conclusion from its harmonically ambiguous opening to the concluding fugal high jinks. The first movement’s allegro was joyously played projecting Beethoven’s sunny C major with great élan. The slow movement, rich cello pizzicati supporting a haunting melody, cast its hypnotic folk-like spell. The surprisingly formal minuet and trio make a marvellous foil for the finale, violist Nobuko Imai kick-starting the proceedings with energy and gutsy humour. An evening to remember.

G.K.