A Stand-Up Concert From Artis Quartet

By June April

Last weekend’s concert by The Artis Quartet at Edmond Town Hall ended with standing applause, which might have been in some small measure because three of its musicians — violist Herbert Kefer, first violinist Peter Schuhmayer and second violinist Johannes Meissl — stood for the entire concert.

“The reason we decided to perform standing, rather than sitting,” explained cellist Othmar Müller, “is that it is the way we practice, so it made sense to us to also do so when we play concerts.”

Since their formation 25 years ago, the stature of this quartet has always been on a higher level, both musically and physically. With a score of compact discs ranging from classical to contemporary, and numerous international awards, Artis Quartet brought a most enriching program to the audience in Newtown on March 13.

Their playing demonstrated the technical virtuosity that has brought them recognition via such international awards as the Grand Prix international du disque/Academie Charles Cros the Prix Caecilia, the Diapasond’Or and the Wiener Floetenuhr.

The concert opened with a challenging work by Mozart.

Subtitled “Dissonance” (otherwise known as Quartet in C Major, K. 465), the opening sounds are of a rather strident level, both in the playing and the sound. But in true Mozart style, it is soon beautifully melodic and even somewhat jocular in the last movement.

Next on the program was a particularly beautiful quartet by Felix Mendelssohn.

Quartet in E minor, Opus 44, No. 2 was written on his honeymoon and bespeaks the depth of love and happiness. Written in the accepted musical format of the day, four movements, it begins Allegro which is not too fast, but captures and moves the melodic lines from one instrument to be grabbed by the other.

The Scherzo moves more quickly and rhythmically yet retains the lovely harmony that so bespeaks his state of mind. In the music of the third movement, Andante, Mendelssohn wrote in the music “nicht shclepend,” or “do not drag.” As with Shakespeare’s notes for Hamlet, leaving direct instructions for actors or musicians means playwrights and composers leave no question doubt over how they want their work expressed.

Moving out from the shadow of Joseph Haydn, Beethoven’s Quartet in F, Opus 59, No. 1 offers musicians an opportunity to weave nuances as well as vigorous melodic statements and harmonies.

The ending is pure Beethoven, teasing that the end is near and then, with great musical flourish it consummates, boldly.

The members of The Artis Quartet met while studying in Vienna and clearly still relish one another’s company and skills. Their worldwide concertizing and interaction with audiences has justifiably brought them a loyal and enthusiastic following.