Musica Viva Australia continues to bring the finest chamber music ensembles to Australian audiences and Tuesday’s offering at the Melbourne Recital Centre was no exception.
Based in Germany, the award-winning Esmé Quartet has taken the world by storm since winning the 2018 International String Quartet Competition at London’s Wigmore Hall. Three of Esmé’s founding players were born in South Korea – violinists Wonhee Bae and Yuna Ha, and cellist Yeeun Heo. In 2023, the ensemble welcomed Belgian-American violist Dimitri Murrath, who said, “From the first note, I felt as if I had been playing with this group for many years”. No surprise then that the word Esmé comes from the old French word for “beloved, respect”.
For their Australian debut, these four young musicians brought to audiences an equally youthful line-up of works, with all four composers on the program under the age of 31. Cellist Yeeun Heo explains, “It’s a rare treat to perform the music of young composers who would evolve into the world’s most famous”. Whether it was the youthfulness of the musicians or of the composers, the confident, classy “joie de vivre” vibe with which the concert proceeded certainly inspired the audience to offer the most appreciative rounds of applause after each work.
The gorgeous program of much-loved masterworks opened with music by Anton Webern. Composed at age 22, Langsamer Satz (1905) is an exquisite miniature inspired by a hiking holiday with his future wife Wilhelmine Mörtl. From the outset, the audience could sense they were in for something special. Perfectly balanced and phrased, this fabulous foursome displayed such passion and warmth of sound, portraying the romantic yearning, turmoil and tranquillity of Webern’s love song.
A notable modern addition to the performance was the use of four iPads, mounted to four “barely-there” stands, enabling far greater visibility of (and for) the four performers.
Speaking to the audience, first violinist Wonhee Bae offered greetings in three languages: English, Korean and German (they were formed in Cologne in 2016). Expressing the group’s gratitude for an incredible national tour of eight cities, she added that the soulful opening piece by Webern “felt like a goodbye song”, this concert being their final in Australia. Continuing, she described the concert as one of contrasts, from “very quiet to very wild … the music is highly emotional and deep, despite the youthfulness of the composers.”
The opening work’s love theme was then transported to the program’s second work, Mendelssohn’s String Quartet No. 2 in A minor, Op. 13. In June 1827, the young 18-year-old Mendelssohn fell in love, writing the words and music to his song Frage, Op.9 No.1. Using this song in all four movements of his string quartet, it appears Mendelssohn is sharing with us what love feels like to him. Passionate, dramatic, even operatic at times, this work sounds like it could have been written by someone with Beethoven’s experience. While preparing this work, violist Dimitri explained, they were stunned by the “range of emotions and refinement of [Mendelssohn’s] craft”.
It was during this performance that the incredible calibre of this young group became even more apparent. From the beautiful slow opening to the tempestuous violin recitative in the final movement, the audience was transfixed by Esmé’s virtuosity, energy and commanding stage presence. The impeccable ensemble playing and interpretative insight of this demanding work were masterly. Sharing some sage advice, Wonhee explained, “Playing chamber music is one of the highest social interactions, combining players, composer and audience … you learn to know when to speak, and when to listen”.
Following interval, the expectant audience was introduced to music by young Australian-American composer Jack Frerer. A super challenging work, Spiral Sequences (2018) presents a spiral, at first tightening and then unravelling in two divergent movements. The first was fast and furious taking listeners on a thrilling roller-coaster ride of accented semiquavers, while the second, gentle and introspective, displayed the most wonderfully theatrical bowings. As Frerer explains, “this piece evokes the feeling of a big city … jarring juxtapositions, surprises around every corner”. Though unknown to most of us, we will surely hear much from this composer for years to come.
The final work in the program was Debussy’s only string quartet, written when the composer was 31. Here, the Esmé Quartet was very much in its element, executing the pizzicato and bowing techniques with relish and considerable flair, at times jumping out of their seats in enthusiasm. In contrast, the incredible care each player took over phrasing, their grace and attention to detail, continued to demand our attention and admiration.
Following several “curtain calls”, the audience was treated to an encore of music by Korean composer Soo Yeon Lyuh (b 1980). Yessori, which translates as “sound of the past”, evokes the sound of traditional Korean instruments, in particular, “the two-stringed bowed haegeum”, explained Wonhee. Incorporating special techniques of wide slow vibrato, percussive tapping and vocal shrieks, the Esmé Quartet brought their final concert in Australia to a rousing close.
In some final words from Wonhee, “organisations dedicated to presenting chamber music are rare and precious in this world”. Kudos again to Musica Viva Australia for bringing chamber music ensembles of the highest calibre to Australian audiences.
Photo supplied.
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Helen Rommelaar reviewed “Esmé Quartet” presented by Musica Viva Australia at the Melbourne Recital Centre, Elisabeth Murdoch Hall on May 14, 2024.
