Founded during the 1950s, it was the brainchild of Professor Sidney Newman. Throughout the first few years of its existence, it operated closely with the university's winter concert series. In the time that followed it gradually took on a wider remit
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String quartet writing has long been thought of as the leading form of chamber music. An offshoot of the so-called Quartet Symphonies and Serenades of Austria and Germany, it began to attract composers during the second half of the 18th century. Mozart's Eine Kleine Nachtmusik demonstrates just how closely these early works related to one another.
Schubert's tenth string quartet in E flat major casts an occasional backward glance at the early form in which first violin tends to predominate while the other three instruments are relegated to an accompanying role. By contrast, Ravel – with his consummate mastery of string writing – gave equal responsibility to all four players. Their perceptive reading emphasised the vibrant colouring of his opulent soundscape.
To meet up with an unfamiliar work by Mendelssohn does not tax the ear overmuch. The opening of his third quartet is vaguely reminiscent of the finale of his Scotch symphony and much of what follows displays his great skill as a musical craftsman. It was convincingly played – with many neat and nimble contributions from one and all.
The full article contains 265 words and appears in Edinburgh Evening News newspaper.
