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Vine: String Quartet No 4 (world premiere)

Vine: String Quartet No 4 (world premiere)
22.11.04, Perth Concert Hall, Perth, Australia: Takács Quartet
(As part of 9-date tour of all the Australian state capitals ending in Melbourne on 06.12.04)

‘MIRACLE QUARTET’
‘Perth-born Carl Vine, who came onstage to introduce the world premiere
of his Quartet No. 4, pointed out what a privilege it was for a
composer to have his music performed by such an illustrious ensemble.
On first encounter, it is clear that the work has a great deal to offer
the listener.

It is a beautifully crafted creation, abounding in attractive ideas
alternately lyrical and tough. There is a shapeliness about the work,
with melody lines floating over underlying, accompanying figures, in
turn urgently pulsing or gently rocking.

Indeed, from its opening simulation of hunting horn calls through
unfolding episodes of passion and reflection, Vine's Fourth Quartet,
given a dream unveiling by the Takacs ensemble, seems destined for a
secure and deserved place in the repertoire…
Takacs provided a triumphant conclusion to Musica Viva's 2004 season.’

The West Australian (Neville Cohn) 26 November 2004


‘There seemed to be more than the usual tone of polite pleasantry when,
just before his 50th birthday commission, the String Quartet No.4, Carl
Vine spoke of the privilege of having it played by such incredible
musicians. When the Takacs Quartet had played the piece you could
certainly see why he was pleased - moved perhaps.

Written in one movement, broadly broken into two sections, it moves
from a discursive opening of murmuring textures with a hint of
something unsettled below the surface to a memorable violin melody -
the core of the movement - which Edward Dusinberre played as a
necessary though painful truth.

Beneath this lay knowingly meditative phrases which could easily have
become routine, but the quartet breathed them with almost uncanny
empathy for Vine's musical thought.

The second part began more aggressively, but, in a moment captivatingly
coloured by composer and players, changed tack and ended in profound
thoughtfulness.'

Sydney Morning Herald (Peter McCallum) 1 December 2004

 

 

 

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