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“Arresting performance from superb quartet”~ Stephen Fisher ~ read full review
“Russian joke to start the year off right”~ William Dart ~ read full review
“The hall was absolutely chocka”~ Murray Khouri talking to Eva Radich ~ read full review
“Musical masters set benchmark for quartet string playing”~ John Button ~ read full review
“Shostakovich well served by Russian quartet”~ Rosalind Appleby ~ read full review
“Finding tears behind the straight face”~ Peter McCallum ~ read full review
“Great technique and musicianship”~ Jennifer Gall ~ read full review
“Nuance, intimacy and good vibratos”~ Eamonn Kelly ~ read full review
“Hearing the Borodins live in concert connects us to the source of Russia’s musical legacy with all its attendant complexities and triumphs.”~ Euan Murdoch ~ read full review
“I know of no other quartet in which the players efface themselves as selflessly as in the Borodin”read full review
5 March 2010
Perth Concert Hall
The icy bleakness of Dimitri Shostakovich's string quartets came as a shock after the sticky heat of a Perth summer night. Could this music depicting such a foreign landscape have anything to say to Western Australians
As Russia's pre-eminent ensemble, the Borodin Quartet slid through the chromatic dissonance of Shostakovich's Fourth Quartet, two things became apparent: great beauty can be found in dark music, and Shostakovich's music is vitally relevant because he traverses the landscape of the heart.
The desperate determination of the plodding scherzo and the tearful joy of the Klezmer melody in the finale are expressions of universal emotions and the Perth Concert Hall audience were held spellbound.
Last century the original Borodin quartet line-up rehearsed the Shostakovich quartets with the composer and, watching them perform, there was a sense of witnessing a precious moment in history.
How much the music has changed over the decades is hard to fathom but their infamous warm, grainy sound - the stamp of the Moscow Conservatory - fitted like a glove. When they brought that beauty to the tragic 13th String Quartet the despairing music with its clashing dissonance became something to savour.
Igor Naidin's elegiac viola playing set the tone, with guttural cello tones from Vladimir Balshin and pristine contributions from first violinist Ruben Aharonian.
After that intensity the sweet melodies of Alexander Borodin's second quartet sounded like "cafe music", as a gentleman in front of me observed. The tonal harmony resonated with the calmness that comes when chords are perfectly in tune.
Sixty-five years of chamber music-making were filtered into this concert and, interestingly, it wasn't perfect. The second violin almost forgot to remove his mute before the start of the 13th Quartet and Balshin smudged a note and had bow wobble.
But people didn't want their money back. We had experienced and understood a slice of Russia's soul.