Founded back in 2002, the Pavel Haas Quartet has achieved major international prominence since garnering numerous accolades for its recordings for Supraphon, the Czech record label. Nevertheless, my feeling is that the quartet is yet to establish itself as a star attraction in UK concert halls. The word needs to spread about this astonishing young quartet, particularly among Birmingham audiences it would seem, as they have a two further concerts in Town Hall as part of a residency here over the coming months.
Although the personnel have changed over the years (two founder members remain), the players have clearly forged an intimate relationship and one which allows them to put themselves completely at the service of the music they are performing. The sweetness of tone characteristic of their performances on disc was very much in evidence and the Town Hall acoustic provided ample space and resonance, which the Pavel Haas players took full advantage of.
The first half of the concert consisted of quartets in C major by Shostakovich and Britten, both giants of 20th-century composition and firm friends in later life. The former composer’s String Quartet no.1 in C major lacks the introspection and sophistication of his later works in this genre, its relative lightness making it an ideal opener for the concert. It is by no means a naïve work – there is a knowing sarcasm lurking beneath the surface of its folk-like, melancholic, melodies. The Pavel Haas players gently underlined these elements rather than overemphasising them. Their nimble playing brought an almost Mendelssohnian character to the perpetual motion scherzo third movement and energetic finale, where they introduced a hint of edginess into their playing for the first time.
Britten’s String Quartet no.2 in C Op.36 was composed in 1945, seven years after Shostokovich’s First. It was composed as part of the composer’s tribute to Purcell in the 250th anniversary of his death. Paul Kildea, Britten's biographer, suggests the work is “infused with the clarity, tenderness and strangeness Britten identified in his great forebear’s melodic lines”. Like a good many of Britten’s works it is no easy listen, yet any first time listeners in the audience would have had little trouble accepting it as a masterpiece from the impassioned and utterly convincing performance given by the Pavel Haas. As throughout the concert, their communication and ensemble was impeccable, four players seemingly moving as one.
That strangeness which Kildea described is evident in the ascending glissando figures passed around the players. These are later recalled in the vast third movement. Though Britten seems to depart from tonality completely at times, there are clear returns to the home key of C major at the conclusions of the first and final movements. In the first, this moment was crowned in fine style with some lovely spread pizzicato chords from cellist, Peter Jarůšek. The players tore into the scherzo second movement, amazing once again with their delicate rhythmic interplay.