The Modigliani String Quartet has quite a definite personality as a musical ensemble and so has Sabine Meyer in her playing. This is perhaps part of the reason they get along so well together in performance. The differences in style and color of each member of the quartet, though not great, are enough to create a consistent pellucid ensemble sound — one can hear straight through to the bottom of the music like a pristine glacial lake. Sabine Meyer’s tone slipped in without a splash, though caused interesting ripples, without any sense of the strings merely ‘setting off’ a soloist, rather her clarinet combined when the music so called for to shade the sum color of the ensemble or conversed with the quartet on equal terms, and the musicians were always looking, glancing, listening closely to one another. The group did sound perhaps as if they would prefer a somewhat brighter acoustic, but they made the best use of the City Recital Hall (which was certainly adequate either way). Their tempo changes were always well judged to let the sound rebound — however dim on its return —, catch up, and shade in the sound and their pauses and silences were perfectly judged to satisfy the local drama and drift of the melodic structure of the music while allowing as best one could hope for for the fast-fading ring of the hall.
The series of concerts of chamber music organized by Musica Viva this year continue with an exploration of, and this time a new commission by, Australian pianist and composer Ian Munro. He has created his second piano quintet (the first composed in 2006 was called Divertissement sur le nom d’Erik Satie) from two earlier works: Dreams, his winning contribution to the 2003 Queen Elisabeth International Competition for Composers, originally meant to be a first movement to a full piano concerto and Drought and Night Rain, originally written in 2005 for the Tasmanian Symphony Orchestra and originally meant to be a beginning to a full symphony. Though it would be nice to hear these symphonic works complete in their own right, Munro has sewn them together skillfully into a chamber music piece. Really this is no different from what Prokofiev did to compose the Romeo and Juliet ballet music, which has a life of its own, so reuse of already composed ideas should not necessarily raise negative thoughts. Munro himself joins with the Goldner String Quartet which is lead by Dene Olding, who often plays first violin in the Sydney Symphony Orchestra, also conducting the SSO earlier in the year, to play his new piece, but we also get the opportunity to hear the Quartet on its own.
For their Australian tour, the brothers Eggner’s trio has chosen a quite diverse group of pieces. Their manner of playing unites them so that it doesn’t seem so important that one piece is Australian, another Austrian and another French, but that each is trying to express something in its own unique way. Likewise the Eggner Trio “contains multitudes,” each brother having quite a different style, manner and approach to the music. I believe the fact that they’re brothers contributes to their success as a chamber group — as a piano trio in particular, in whose peculiarities they seem to rejoice — in the way such different personalities, united only by underlying genetics, can coexist and cooperate in unpredictable ways.