7:30pm, Aug 23, 2011 (Tuesday), Sherwood Auditorium, Museum of Contemporary Art San Diego (La Jolla)
Pleasant, but I hope they made me want more.
Ralph Kirshbaum (USC cello professor) and Andre-Michel Schub (Van Cliburn winner) started the concert, with a smile, with Beethoven's Variations on Bei Maennern, welche Lieve fuehlen, WoO46. Well within their technical realm, they handled the music with ease, delicacy and effective mood changes. I am particular fond of the open and sonorous quality of the cello.
The following Mozart's Quintet in A Major for Clarinet Strings, K. 581, however, was notably less mastered by the Tokyo String Quartet. I would be expecting more dramatic harmonic surprises and melodic gestures. The beautiful second movement (Larghetto), in particular, was rendered in a plain manner. Pleasant, but plain, and lacks the musical quality that touches the heart deeply. The ensemble started the third movement (Menuetto) revitalized, but energy wilted, disappointingly, toward the end. First violinist Martin Beaver was able to interpret quick notes, but lacks legato and fluency at times. Clarinetist Burt Hara, on the opposite, was an inspiration for the quintet, for the musical motion was initiated and almost held only by him (Sorry, cello was doing it, but you're not supportive enough.) Violist Kazuhide Isomura has a beautiful sound when he plays forte occasionally, and perhaps too rarely: I hope he has had more voice in the music.
The second half started with the Kirshbaum-Schub duo playing Beethoven's Twelve Variations on Ein Maedchen oder eichen, op. 66. I wasn't familiar with both cello-piano duos in tonight's concert; however, I wish I could the program could make the duo work harder - maybe it's really hard for the organizer to accomodate that - I don't hear a special "Kirshbaum sound" or "Schub sound" through the two classical (rather than romantic) Beethoven pieces. Don't get me wrong: it was decently done.
The final piece, Mozart's String Quintet in G minor, K. 516 opened in a much more convincing manner. Mr. Beaver seems to handle the quick notes much more comfortably and convincingly than in the first half. I enjoyed the lively musical exchange between the musical voices in general. My personally taste prefers the third movement (Adagio ma non troppo) be played in a slower tempo, providing a greater contrast with the preceding Minuet movement. Despite taking a faster tempo, the quartet did not play "ma non troppo". There was a lack of musical motion forward. It's the same problem: the Tokyo String Quartet is not as exciting, musically engaging and powerful as I would want it to me. It was satisfactory, but by no means spectecular.
As my first visit to the La Jolla Music Society Concert, I find the environment very welcoming, and service professional. The audience, as expected, comprised of a majority of senior citizens, as well as vacationers at the La Jolla area. There are also quite a few younger audience at their 20s or 30s, which is encouraging. The venue, Museum of Contemporary Art San Diego Sherwood Auditorium, does not seem to be designed for musically events: the floor is neatly covered with carpet. Surprisingly, the sound quality did not suffer as much as I expected, perhaps due to the suitable size of the venue - 492 seats. The acoustics, I believe, did affect Mr. Schub's playing. I think the Steinway has more potential than what has been presented in the concert.
The concert was a full-house, and the program was well designed. The Tokyo String Quartet, however, did not let me want more after their performance. Perhaps it's time to go home for a nice cup of tea and think about the next day.
(My first concert review ends here.)
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