How satisfying to see a Hyperion release devoted to Australian musicians, and an Australian composer, Carl Vine (b. 1954). The Goldner String Quartet (Dene Olding, Dimity Hall, violins; Irina Morosova, viola; Julian Smiles, cello) and pianist Piers Lane have recorded quite a few discs for Hyperion over the years. Composers include Borodin, Elgar and Bloch.
Formed in 1984, the quartet disbanded after 30 years in 2024; this is their final recording.
For ABC Classics in 2012 they recorded Vine’s String Quartets Nos. 2 to 5, (and No. 1 prior to that), so No. 6 on this new release completes the full set as it stands at present. Also on these discs are a Piano Quintet, “Fantasia” (2013) and String Quintet (2009, revised 2015) – where they are joined respectively by Piers Lane and Principal Cellist of the Sydney Symphony, Umberto Clerici – plus a Piano Trio (2013), and the Strutt Sonata for Cello and Piano (2017) played by Lane and various members of the Goldner Quartet. Finally, we get a four-minute encore for string quartet, Harbour Reverie (2014).
String Quartet No. 6 is subtitled “Child’s Play”, although technically it is nothing of the sort. Its five movements represent a child’s day. The first movement, “Play”, begins lyrically (even sleepily) but picks up rhythmic pace as the play becomes more intensive.
“Concentration” lives up to its name, and introduces pizzicato against long-held notes, an effect the composer also uses in his earlier quartets. In “Friendship”, musical motifs begin in wary opposition but soon fuse together: it is neatly done. The final movements, “Sleep” and “Running” are clear in their descriptive purpose. This delightful piece is less overtly vivid than some of Vine’s previous quartets.
Virtuosity is a primary aspect of Vine’s piano writing, as we know from his fiendishly demanding piano sonatas. In the Piano Quintet, an atmosphere of mystery is established straight away through soft but ominous piano chords, with the strings exploring elaborate themes over the top. The procedure is one of organic growth, as textures change and motifs mutate throughout the work. The piano part contains rolling arpeggios, staccato rhythms and suchlike textural devices, and there is a deep vein of lyricism constantly breaking through. The inwardness of the lovely slow movement quickly moves into energetic activity in the finale.
The fuller texture of the String Quintet (with its two cellos) never cloys, as it easily can in this genre, thanks to Vine’s sophisticated ear for clarity. The composer is at his most lyrical and post-Romantic in the slow movement, which sounds almost Brahmsian (although the piece was written as a companion to Schubert’s String Quintet). The Piano Trio, subtitled “The Village” is the most outgoing piece here, full of dazzling light in its outer movements, and gently nocturnal in the central movement. Finally, the Strutt Sonata, so named for the dedicatee John Strutt, is a single-movement work in a fast/slow/fast format. Julian Smiles plays the cello part with poised elegance.
There is nothing overtly Australian about this music (unlike the String Quartets of Peter Sculthorpe), but it is uniquely characterful, and as strong a collection of chamber works as you will find. The Goldners are detailed and sensitive as ever; thirty years’ experience tells in their single-minded ensemble. Piers Lane is a known quantity: his contributions are stellar (particularly in the Sonata and the Trio). This set is mandatory for lovers of well written, beautifully performed chamber music.
Composer: Carl Vine
Works: Piano Quintet, Strutt Sonata, String Quartet No. 6.
Performers: Goldner String Quartet, Piers Lane p, Umberto Clerici vc
Label: Hyperion CDA685212 (2CD)
Comments
Log in to start the conversation.