Florescence

Since its inception in 1985, and based at the University of Adelaide, the ASQ has become one of Australia's first and foremost string quartets and is currently on tour around the country. With the use of 18th century Guadagnini instruments for the program, worth over six million dollars in total, and performing a variety of works from three famous eras of music in one of Brisbane City Hall's atmospheric old venues, this was indeed an enjoyable night for those who enjoy the timbre of the traditional string quartet ensemble and its historical significance.

Included with the program was also a contemporary work Florescence, written by experienced fellow string member Justin Williams, followed by works of Haydn, Purcell and Dvorak. It was a superb choice of venue with its intimacy and ambience, and, coincidentally, where ASQ Co-Artistic Director Francesca Hiew first viewed a Dvorak symphony as a young child, as she explained in the second half of the concert. Hats off, too, to cellist Michael Dahlenburg for his amusing and colourful introduction to the concert and the first two items.

The string family can express great passion and is probably one of the best orchestral instruments to do so. This was particularly evident by some very fine playing and interpretation by the players, in particular Dale Barltrop whose emotional drive often rose above those of his compatriots, all very fine players in their own right after having spent many years in the orchestral world, and most prevalent in a very inspiring performance of Dvorak's last string quartet, a most mature and invigorating work written two years after his famous New World Symphony when he was based in New York and indicating the height of his creative powers. The performance of Purcell's Fantasia No 6 (traditionally performed on the viol, predecessor to the violin), a superb work full of contrapuntal complexity and expertise is also worth a mention.

The traditional string quartet, basically set in stone by Haydn during the Classical period and having a resurgence in the Romantic era, even the 20th century, has unfortunately waned as an entity of its own in live performance, having been outshone by the magnitude of a full orchestra's grandness and rich variety of sound. Rather like certain jazz combinations and players, it appears to be more of a self-indulgent form of entertainment, fun to play, but from an audience's perspective being more suited for a specialized crowd. It was, after all, designed for certain venues and situations in past historical surrounds, most of which have changed in modern times.

Having said that, and despite the small but most appreciative audience, it is still refreshing to experience a touch of history 'live' and, in particular, the talents of very fine professional string players performing at the peak of their careers.

Brian Adamson

Photographer: Kane Moroney