Heart strings
Garth Wilshere
New Zealand String Quartet with Michael Houstoun (piano) and Michael Steer (double-bass) – touring for Chamber Music New Zealand, Wellington Town Hall, October 28, reviewed by Garth Wilshere
THIS is Chamber Music New Zealand’s 60th anniversary year and to celebrate the occasion a Schubertiade, featuring our best chamber musicians was a perfect choice. With these fine players, a large audience was assured.
The concert opened with the delicious Trio Movement in E flat Notturno; quite lovely, with Michael Houstoun perfectly in tune with Pohl and Rolf Gjelsten on cello.
But with their beautiful playing, the surprisingly modern-sounding Schubert String Quartet No. 15 was the powerful heart of the first half.
This was an excellent performance from The New Zealand String Quartet. Led by Helene Pohl they played with great style.
The atmosphere for the second half was set when baritone Roger Wilson, dressed for a Viennese Schubertiade circa 1820s, came onstage to sing Die Forelle to precede the Trout Piano Quintet.
Led by violinist Douglas Beilman they seemed a little hesitant to start, but he and the strings soon warmed up.
Sensitive playing from Houstoun and extra string weight from Michael Steer’s double bass - along with Gillian Ansell (viola) and Gjelsten - made for a deeply felt performance of this rich masterwork. (That same work was played at that first concert 60 years ago. )
THIS is Chamber Music New Zealand’s 60th anniversary year and to celebrate the occasion a Schubertiade, featuring our best chamber musicians was a perfect choice. With these fine players, a large audience was assured.
The concert opened with the delicious Trio Movement in E flat Notturno; quite lovely, with Michael Houstoun perfectly in tune with Pohl and Rolf Gjelsten on cello.
But with their beautiful playing, the surprisingly modern-sounding Schubert String Quartet No. 15 was the powerful heart of the first half.
This was an excellent performance from The New Zealand String Quartet. Led by Helene Pohl they played with great style.
The atmosphere for the second half was set when baritone Roger Wilson, dressed for a Viennese Schubertiade circa 1820s, came onstage to sing Die Forelle to precede the Trout Piano Quintet.
Led by violinist Douglas Beilman they seemed a little hesitant to start, but he and the strings soon warmed up.
Sensitive playing from Houstoun and extra string weight from Michael Steer’s double bass - along with Gillian Ansell (viola) and Gjelsten - made for a deeply felt performance of this rich masterwork. (That same work was played at that first concert 60 years ago. )
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