The London Haydn Quartet sit in a relaxed semi-circle within the pupil of a pure white beam, an iris of cerulean blue light encircling them on stage. Violinist Catherine Manson enthuses, “This is the perfect hall for us to play in because this space has intimacy and warmth, just like Haydn’s music.”
Performing three string quartets selected from a particular period of Haydn’s life, the London Haydn Quartet – consisting of Manson, Michael Gurevich (violin), James Boyd (viola), and Jonathan Manson (cello) – revive the Classical master’s lesser known gems with the intention of presenting them as they were originally intended.
They open with the light-hearted, joyful String quartet No 17 Op 17 No 2, a roughly 25 minute piece that conjures images of skipping through virile green fields in spring sunshine. Written in 1771 when Haydn was the recently appointed Kappellmeister (music director) to the enormously wealthy Esterházy family, he was in an enviable position with his own orchestra to command and many opportunities in which to pour out his creativity. Staying true to his vision, the LHQ use gut strings with period bows to convey the delicate texture of the Opus. In his composition for this piece, Haydn was already weighing the requirement of a first violinist with his idealised vision of the quartet members as equals. Manson successfully accomplishes this fine balancing act, playing the lead violinist role with great melodic empathy but never straying to the alienating virtuoso.
“Haydn composed many of these quartets in isolated palaces and courts (in the Hungarian countryside) so every quartet is very inventive, ” she elaborates after a brief intermission.
String quartet No 37 Op 50 No 2 (the ‘Prussian quartets’) follows – a mirthful, playful and spirited composition. In this piece and the proceeding String quartet No 44 Op 54 No 3, each member of the quartet was written to emerge as clear individual characters with colourful voices. There are highly amusing exchanges within the deft weaving of bows – a lilting proposal, a fanciful parlay, a pompous exclamation, a witty riposte. These – together with the dramatic build-up, sharp edges, and climactic endings – embody the trademark humour of Haydn’s works, and the LHQ perform them with a scintillating zing that would have inspired even Oscar Wilde. Comedy is all about timing, and they deliver the punch-lines with finesse. Given that these quartets were written in 1787-88 during which Haydn experienced huge international success and produced a great number of compositions, there would have been much laughter for the ‘Father of the String Quartet’ to indulge in.
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The London Haydn Quartet breathes his works anew with much delight, fervor and passion. Experiencing their live performance is akin to observing them line the warm womb that Haydn’s music carves out, absorbing all who nestle within.
