New Ying string quartet introduces new work
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By JIM LOWE Staff Writer - Published: November 1, 2009
HANOVER, N.H. — The Ying Quartet, the formerly all-sibling string quartet, premiered a rich new work by Richard Danielpour on Friday at Dartmouth College's Hopkins Center — which proved the biggest success of the evening.
Danielpour was on hand for the introduction of his String Quartet No. 6, written for the Ying Quartet and commissioned by the Eastman School of Music, where the Ying is in residence, and Hopkins Center. Titled "Addio," heralding its theme of goodbyes, the roughly 30-minute, three-movement work, while not terribly challenging listening, proved a richly sonorous emotional journey.
The opening Moderato e triste began as lyrical and mellow, then took on a drive, still lyrical, that grew into passion that finally became haunting. The language was tonal and the sound was lush, belying the complex rhythmic underpinnings that kept the mood from becoming entirely settled.
The middle Presto gracioso, in a scherzo-like manner, began and ended with rapid lyrical pizzicato sections. In between were moments of strident passion and lively and more layered lyricism, then back to the beginning.
The final Cantabile e sostenuto opened with a haunting tenderness, unison harmonic octaves between first violin and cello, joined then by the others. From there, it built in speed and passion before returning to the quiet sadness of the beginning, a cello lament concluded by a harmonic chord for all.
Danielpour's writing was rich and colorful, and, though its immediate accessibility may not portend well for longevity, it was a joy to hear. The Ying played the work with an inner passion and outward skill that delivered the colors and emotional dimension. (Dramatic lighting changes, though, detracted from rather than heightened the drama.)
The Ying did not fare as well during the remainder of the program. The major work, Beethoven's Quartet in C Major, Opus 59, was played skillfully enough, but had a relentless driven quality throughout. There was plenty of Beethoven's suddenness, but it never receded to any of the gentle lyricism or playfulness of this "Rasoumovsky" quartet. The slow movement, Andante con moto quasi allegretto, ideally lyrical and introspective, had the same driven quality as the rest.
Shostakovich's Quartet No. 9, Opus 117, too, had that monochromatic emotional quality. The playing was precise and nuanced, but the mood was constantly dark and driven. Like the Beethoven, there was no variation in mood. There wasn't the joy of music-making found in the Danielpour.
In April, the Ying Quartet made its first personnel change in its nearly two decade history. Frank Huang replaced Timothy Ying as first violinist (joining violinist Janet Ying, violist Phillip Ying and cellist David Ying). Huang is an expert player, but the quartet seems to lack the emotional scope it once had.
The Ying Quartet has had a presence in Vermont since it conducted a weeklong residency in Montpelier in the early 1990s, involving itself with local schoolchildren as well as musicians. That was just after its groundbreaking yearlong residency in Jessup, Iowa, and a Naumburg Award.
Since, the Yings have performed regularly in Vermont, mostly at the Vermont Mozart Festival and the Barre Opera House.
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