Australian arts jobs, news, industry commentary, career advice, reviews & data

What's On

St Lawrence String Quartet & Diana Doherty

Tomas Boot

MUSICA VIVA: A fine concert, finely realised, with the added bonus of hearing two relatively new Australian works.
St Lawrence String Quartet & Diana Doherty
There can be something very comforting about a string quartet, and the Canadian St Lawrence String Quartet is no exception: there’s a sense, no matter how illogical it may be, that, compared to a symphony, the players of a quartet are far more acutely aware of the audience’s presence in the room, and that the audience is more aware that they’re aware, and so on. All this is a rather roundabout way of saying that string quartets are more ‘intimate’, of course, but there’s more to it than that, and whatever that more is, is what was floating around the City Recital Hall on the night I attended Musica Viva’s latest concert series. In addition to all this, however, was the added bonus of hearing two Australian works, both relatively new (though not premieres), and, as an added bonus to the bonus, both Australian works were well worth this critic’s time.

We began with Haydn’s String Quartet in F minor, op 20 no 5, in one of the most enervating renditions of Haydn this critic has heard in quite some time, played with much gusto by the four players, many a pair of legs projecting out into space and being pulled back in again, shoes thumped on the floor, the long hair of one of the violinists flying around his face. It was a performance that brought to the surface what often lies stagnant underneath.

Gordon Kerry’s Elegy for string quartet came next after an introduction by the composer himself. The piece, commissioned by the Australian Youth Orchestra in 2007, was a heartfelt and moving tribute to Kerry’s mother, and, while lacking the size and scope of, say, Nigel Westlake’s Missa Solis last year – a requiem for his son Eli – it nevertheless was a pleasure to listen to. Alternating between mournfulness and forced levity, its ten minute duration held the attention (and then some) for the entirety.

Mozart’s Oboe Quartet in F major, K370 finished the first half, Diana Doherty (principal oboist for the Sydney Symphony) subbing in for one of the violinists. The performance was refreshing and vitalising and came as a perfect antidote to the grief of the piece by Kerry beforehand.

After the interval we were treated to Beethoven’s String Quartet no 4 in C minor, op 18 no 4. Here the quartet was not as energetic as previously, but this is not to say that the piece lacked in power – indeed, the change of style was well suited to the demands of the work.

Last was Matthew Hindson’s Rush, for oboe and string quartet, a work based on his piece of the same name except for guitar and string quartet. What Hindson has done, as he informed us in his introduction to the piece, is to transform the guitar’s part into one for an oboe, adding and detracting from the quartet’s textures when needs be. The piece is frenetic in all the good ways, and displayed Doherty’s skills to the highest.

An encore was called for, and it was given: a short tango by Hindson, a world premiere, no less, and one that was vociferously appreciated by the audience. A fine concert, finely realised.

Rating: 4.5 stars out of 5

St Lawrence String Quartet & Diana Doherty
With Musica Viva

Joseph Haydn String Quartet in F minor, op 20 wno 5
Gordon Kerry Elegy for String Quartet (2007)
Wolfgang Amadeus Mozart Oboe Quartet in F major, K370
Ludwig van Beethoven String Quartet no 4 in C minor, op 18 no 4
Matthew Hindson Rush for oboe and string quartet (2002)

Newcastle: Sat 14 April, 7.30pm
Sydney: Mon 16 April, 7pm
Brisbane: Wed 18 April, 7pm
Adelaide: Thurs 19 April, 7.30pm
Melbourne: Tues 24 April, 7pm
Perth: Thurs 26 April, 7.30pm

What the stars mean?
  • Five stars: Exceptional, unforgettable, a must see
  • Four and a half stars: Excellent, definitely worth seeing
  • Four stars: Accomplished and engrossing but not the best of its kind
  • Three and a half stars: Good, clever, well made, but not brilliant
  • Three stars: Solid, enjoyable, but unremarkable or flawed
  • Two and half stars: Neither good nor bad, just adequate
  • Two stars: Not without its moments, but ultimately unsuccessful
  • One star: Awful, to be avoided
  • Zero stars: Genuinely dreadful, bad on every level

About the author

Tomas Boot is a 24-year-old writer from Sydney whose hobbies include eavesdropping on trains, complaining about his distinct lack of money, and devising preliminary plans for world domination. He also likes to attend live performances on occasion, and has previously written about such cultural excursions for Time Out Sydney.