A problem that often plagues classically trained musicians is a mechanical approach to music which can undermine spontaneity and creativity.
Occasionally, however, there are moments when all inhibitions and restrictions disappear and the music resonates with honesty and character.
The Tokyo String Quartet has always stood out among classical ensembles as superb interpreters of music. Joined by clarinetist Richard Stoltzman, the Quartet played 4 compositions to a full house last nightwith plenty of drive, enthusiasm, energy, and most importantly, emotional drama.
In a Spotlight discussion before the concert, Professor of Music Christian Wolff and Stoltzman discussed the compositions on the program as well as the general ideology of the quintet.
After playing together for almost 15 years, the Quartet has developed not only a sound understanding of their repertoire but a comprehensive knowledge of each other's playing styles as well . Stoltzman commented: "When you play together that long, you don't worry about things like bars and melodies -- everybody knows that already."
Together with the Quartet, Stoltzman adopts an unusually relaxed approach to classical music, a result of his laid-back manner and cheerfully irreverant sense of humor.
During the discussion, when an audience member asked him about improvising within a Brahms composition, he responded, "Well, if you think you're on the musical level of Johannes Brahms, I say go for it." His lightheardness, however, is somewhat subdued on stage, when concentration and intensity are needed most.
Though Stoltzman was featured in the last two pieces, the highlight of the concert was the Quartet's interpretation of Leos Janacek's composition titled "String Quartet No. 1, Kreutzer Sonata." Janacek based "String Quartet No. 1" on Leo Tolstoy's novel "The Kreutzer Sonata," a story of deceit, jealousy, passion and frustration.
Janacek reversed the tone of the novel, which blamed music for the rift between a husband and wife, but retained all its emotional elements of the novel. The result was a dramatic 4-movement composition with a lush musical landscape.
Technically dazzling, "String Quartet No. 1" allowed an open dialogue between violinists Peter Oundjian and Kikuei Ikeda, with Kazuhide Isomura (viola) and Sadao Harada (cello) framing melodies with sharp, stinging notes. The piece ended dramatically with the same pastoral motif it had built through the first movement and after exploring dense harmonic structures in the third movemement.
Stoltzman then joined the Quartet in a 38 minute version of Brahms "Clarinet Quintet in B Minor," another 4-part composition. Evident during this piece was Stoltzman subtle manipulation of dynamics.
Though he often oscillated between various registers, his playing was strong and consistent throughout.
During the spotlight discussion, Stoltzman noted: "When I play the Brahms, I stop hearing myself and start hearing the song. The texture and tonality of a piece really shine through once this happens."
The concert ended with a stirring encore performance of Tchaikovsky's "Autumn Song," arranged by Japanese composer Toru Takemitsu.
The Quartet and Stoltzman thoroughly engaged the audience in their musical experience with a fine program of classical compositions. Stoltzman captured the essence of the evening most appropriately when he said before the concert: "The best thing is to just listen to the music."
