udra McDonald in "A Moon for the Misbegotten." Photo T. Charles Erickson.

A Singer’s Notes 114: Three Great Evenings

Beethoven’s String Quartet op. 131 makes Horatios of us all. We stand by, we listen to prophetic greatness, we try to respond, but it eludes us. Hamlet tells us there are more things he could say if he had more time. Doesn’t this sound like the Quartet? In the midst of sublimity, Beethoven finds humor. And most Hamlet-like of all, the serious and the risible are jam-packed together, with no recovery time for the listener. The time is short. The Mirò Quartet made this doubly so. The performance had an irresistible forward motion. Even the great set of variations were fleet of foot somehow. Every time I hear this piece I am bewildered. They made it clearer. Partly it was a relentless energy, but mostly it was their ability to make even what silence there is in the piece forward leaning.

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