Reviews

Cavani String Quartet

Cavani quartet gives upbeat performance

By Howard Tuvelle

There is something contagious about enthusiasm – indeed, everyone infected by it seems infused with greater vitality, spontaneity and awareness.  This is true of music when it is produced by exuberant performers, and it was ever so apparent in last Sunday’s Cavani String Quartet’s performance in Newtown, sponsored by the Newtown Friends of Music.

The quartet, named for a 19^th century Italian instrument maker, is composed of four female instrumentalists.  Currently they are Quartet-in-Residence at the Cleveland Institute of Music.

Their program began with a  piece entitled “Demeter Prelude,” by Margaret Brouwer, who heads the composition department of the Institute.  Composed in 1997, the piece is laced with short themes and rhythms, many descending scale passages and repetitious patterns.  There are solos for the four instruments, and its style rather defies comparison.  Easy to hear, it was an interesting work that warrants several hearings.

The main work of the first half was the “Quartet in B-flat Major, Opus 18, No.6,” by Ludwig van Beethoven (1770-1828).  The opening Allegro movement is joyful and upbeat for this composer.  Full of bouncy dialogue among the four instruments, and abrupt Haydnesque stops, the musicians displayed a responsive communication that was the earmark of their whole afternoon’s performance.

It was a pleasure to observe.

The Cavani members played with finesse, drive and charm, exquisitely capturing Beethoven’s various mood changes in the last movement.  A rapid and furious section brought the movement to an exciting end.  Bravo to the performers!

The second half featured the “String Quartet in F Major, opus 96,” and subtitled “American,” by Antonin Dvorak (1841-1904).  Based on music Dvorak heard while visiting this country (Spillville, Iowa, of all places!), this truly romantic work opens with a melody based on the pentatonic scale (the black keys on the piano).  It includes Indian drumming and various folk hymns and spirituals, all transmogrified by the composer into a lush and sumptuous piece of music for the four instruments.

Without detailing all four movements, suffice to say that it is a beautiful and near glorious composition, rich in sonority and instrumental interplay.

The cellist must be applauded for her solo in the Lento (2^nd) movement.

To our surprise, and after the audience’s total enchantment with the Dvorak, the Cavani offered an encore: “Midnight Child,” by Charles Washington.  This was refreshing.  In the blues style, each player was given a kind of improvisatory solo and had a chance to be featured.  The composition was a kind of jazz rendering of the spiritual “Sometimes I Feel Like a Motherless Child.”

An octogenarian in the large audience remarked: “One of the best quartets I’ve ever heard.”  This reviewer agreed!

The Cavani is committed to music education, and should be given our thanks and appreciation for staying a day after their performance to meet and work with music students in the Newtown schools.