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At Lunch 4 : 'The modes and moods of the human heart' ?

jazeeradarden Temmuz 12, 2021
This is a review of Britten Sinfonia in At Lunch 4 on 12 April 2016

More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
(Click here to go directly to the Festival web-site)

2 May

This is a review of At Lunch 4, given by Britten Sinfonia at West Road Concert Hall, Cambridge, on Tuesday 12 April 2016 at 1.00 p.m.



Programme :

 1. Béla Bartók (1881-1945) ~ 44 Duos

 2. Bryce Dessner (1976-) ~ El Chan

 3. Robert Schumann (1810-1856) ~ Piano Quartet



Bartók ~ From 44 Duos (1931), BB104, a selection of five

These are duos for violin and viola, so we welcomed Thomas Gould and Clare Finnimore, respectively, to perform them (the – ever-ascending - position of each number in the whole work is given in parenthesis after the title) :

 1. Pillow Dance (14)

 2. Hungarian March I (17)

 3. Sorrow (28)

 4. Bagpipes (36)

 5. Pizzicato (43)


Frankly, at this remove from the event (i.e. of the time of the review), one may be imagining that Thomas Gould (@ThomasGouldVLN) said a little – before or after these five items – about the pedadgogic aspect of Bartók’s collecting folk music in the field (recording, notating, etc.) (although there were political, musical, historical ones, too, of course) : hardly uniquely to Bartók, it seems as if these Duos partly serve as graded exercises, in order of difficulty.

Thus, (1) Pillow Dance, a study in rhythm and pattern, contrasted with an atmosphere of the lyrical (tinged with the drunken ?) in the first (2) Hungarian Dance of the whole set – and, at its end, it reminded us of the dance that had preceded it.

 Not just numerically at the centre of these five Duos, played standing, was (3) Sorrow. Not unabated sorrow, however, but a weaving together of threnody with its transformation into music – in the persons of viola and violin – and with its emotional, linear and harmonic parts matched so as to sound as wedded.

Over a drone from Finnimore (on viola), we heard Gould’s violin dance in (4) Bagpipes – material used elsewhere by Bartók, in one of his major compositions ? Then the drone ended, and we had an energetic conclusion from the paired players (a form of dance ?). Last, in (5) Pizzicato, we necessarily had that string-effect, but it began in a ‘picked’ form from Finnimore, and with more of a strum from Gould.

Both reminded of the tone and sound of the String Quartets (a little of which we were yet to hear on the evening of Benjamin Grosvenor directs), but also of the banjo. We were to move to a sensation of liveliness balanced against a heavier (or sharper) sound in a number of variations, and, by the close, an interplay of lead instrument from Gould to Finnimore and back. Judged just right, as a curation that was to end here and which had been perfectly executed, this was an excellent start to the programme !





2. Dessner ~ El Chan (2016)

For the rest of At Lunch 4, Caroline Dearnley (cello), and Huw Watkins (piano), joined Finnimore and Gould in two works for piano quartet.

 As this contemporary commission progressed (we had been told that El Chan was in seven movements, and principal pianist Huw Watkins (@WatkinsHuw) described it as a beautiful piece¹), its filmic quality came out, and a theory – shared by Tweet below – formed as to its scope and intent…
(I) Against a shimmer of an opening, a very violent pizzicato had been written for Caroline Dearnley – yet very soon, and almost at the other extreme, she brought out a ghostly cello tremolo, and Watkins reached inside the lid of the piano to play some bass-notes directly.

Again to the fore, Dearnley had flurries of notes, before passing back to the piano, and the start of an obsessively repetitive pattern. Slowly, it subsided to a quiet close, and then (II) an equally quiet opening from Watkins, which became a raindrop-like texture. The other players joined it, but in what seemed an uneasy tranquillity, with odd dissonances, to which they added.

As it broadened out, it seemed as though it might give space to some isolated sounds with violin, but instead it closed. Next (III), lively strokes from Clare Finnimore (viola) and Thomas Gould (violin) reminded of Philip Glass, before the sound grew to that of the quartet of players, and subsided - leaving us listening to the sweetness of Gould’s upper string(s), but ending quite hoarsely.

Next (IV), a violin-line that, in a jazzy and non-linear way, felt confused (or conflicted) against those of cello (Caroline Dearnley) and viola, and where – as in cinema – one experienced misdirections as to where the movement was heading. (V) After a minute pause (signalled by communication between Huw Watkins and Thomas Gould), what followed now sounded like John Adams, and felt to be the centre of the piece², with, seemingly, hints of Mexican dance-rhythms, and strongly bowed cello-strokes.

(VI) Piano mumbled (or grumbled ?) as – over a drone from cello and viola – Dessner carefully placed Gould’s violin-line. Soon, a tremolo on the cello passed to the viola, and then a fragmented line moved from Gould to Watkins, becoming an ostinato : we were to hear shimmers, and soft pizzicato tones from Finnimore and Gould. Near the end, there was a quiet period of rumination with a cross-melody, but we were to conclude with a few bars of peals and cascades.

(VII) To long, ghostly cello-strokes, whose sound had a resemblance to that of a didgeridoo, was added the keening of the viola, and quiet contributions on piano : looking at Dearnley’s splayed left hand helped one to appreciate both what she was playing, and how she was playing it. When Gould at last entered, it was an augmentation of all that we heard, but, perhaps contrary to our expectations again, El Chan ended with cello (and a big smile from Caroline Dearnley – please see comments on the Schumann, below).


 With any new commission, even from a composer with a pedigree such as - from the programme-notes - one gathers Bryce Dessner’s to be, one may be unsure what its future is : in his case, though, he has been running MusicNow (the music festival in Cincinnati that he founded) for ten years, for example, and so has additional recognition and musical impetus. As well, of course, as the skill as a composer, here evident to all³.

All that aside, Dessner constructed a set of changing moods in El Chan, which, he informed us (again, in the programme-notes), was a reaction to ‘a pool of water which has been the source of popular legends for many centuries’ [El Charco del Ingenio (near San Miguel, Mexico), which he visited in January 2016], after whose ‘guardian spirit’ the composition is named.

In this reviewer’s perception or interpretation, what this Tweeting says was also part of it :




3. Schumann ~ Piano Quartet in E Flat Major (1842), Op. 47

 1. Sostenuto assai – Allegro ma non troppo

 2. Scherzo : Molto vivace – Trio I – Trio II

 3. Andante cantabile

 4. Finale : Vivace


The Piano Quartet opens with (1) a chorale, whose use is in a Beethovenian vein, and we heard it as both spirited and thoughtful, before (in the Allegro ma non troppo) Schumann gets ‘into the swing’ of his own, distinct style.

To the movement, the Sinfonia players admirably brought a sense of being placed in relation to the composition, and we were treated to Caroline Dearnley’s luscious cello-tone, before a moment’s rallentando signalled that its close would be in a coda.


The (2) Scherzo was nimble and fleet of foot, flowing like quicksilver into the opening Trio section. Here, as in the connected and celebrated Piano Quintet in the same key (Opus 44), Schumann nervily keeps us alert. Throughout, one was aware of the close communication between the instrumentalists, and the poise that Schumann had them establish prior to employing pizzicato as a closing gesture.


At some level, we must have known that Schumann had set the scene for the gorgeous cello-writing that, here as elsewhere (and through how Caroline Dearnley played his melody-line), he was now to bring us in the (3) Andante cantabile. With it, as the attention moved to Thomas Gould, yearning (Sehnsucht ?) in the sweet-sounding tones of his violin.

 Then – but softly, softly - into creating another chorale, whose utterly involving mood came to conjure – via Clare Finnimore on viola (and violin figurations) – the relaxed grandeur of eastern European cities and of the dance, quite gedachtvoll, but also gemütlich. At first, the cello stayed out, but then Dearnley came in, with light pizzicato, to complete the atmosphere. It was a wonder, because – in and through this writing (which might, in other, less-skilful hands, have felt like schmaltz) – we had such a fulness of true feeling.


To draw us into the (4) Finale, the tempo was straightaway Vivace - another facet of that carefree spirit of the Andante ! The joy was that, led by Gould (@ThomasGouldVLN), the musicians of Britten Sinfonia (@BrittenSinfonia) were as excited and enthused by the music as we were :

 Infectiously so, in an act of co-creation (Zusammenhalt ?). As the section concluded, Caroline Dearnley gave one of her big smiles of pleasure at the material, and Schumann a fugato, which ended a performance that had easily shown that the Piano Quartet is the emotional equal of the Quintet.

 Very enthusiastic applause summed up both the recital as a whole, and this lovely interpretation.




 End-notes :

¹ Its world premiere had been given at the end of the previous week, at St Andrew’s Hall, Norwich (@thehallsnorwich), on Friday 8 April 2016, and this was only the second of three performances (the last was the following day, at Wigmore Hall (@wigmore_hall)).

² In Schumann’s Piano Quartet (as described in that part of the review), one feels to have reached this point in the movement marked Andante cantabile.

³ Likewise, in the ensembles and performers with whom Dessner works, including The Kronos Quaret (unbelievably coming to play locally, at Saffron Hall, within a fortnight : Saturday 14 May at 7.30 p.m.




 Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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