AT THE GRAVE OF BEETHOVEN

Phoenix Collective Quartet

Wesley Music Centre, Forrest, November 28

 

Reviewed by Len Power

 

A Beethoven concert is always welcome, but in the program presented by the Phoenix Collective quartet, works by the much later composers, Leoš Janáček and Karen Tanaka, were included. Both had ingenious links with the two Beethoven works to be played.

The Phoenix Collective quartet consisted of Dan Russell, violin, Pip Thompson, violin, Ella Brinch, viola and Andrew Wilson, cello.

The concert began with an arrangement by the quartet’s cello player, Andrew Wilson, of the first movement of Beethoven’s Sonata no 9 in A major op 47 Kreutzer. One of Beethoven’s most famous chamber works, written for piano and violin, this arrangement had three players covering the piano part and one player with the violin part. The slow beginning was contrasted with more intense passages that gave this complex work a feeling of underlying emotional tension. It was given a fine performance by the quartet.

It was followed by Janáček’s String Quartet no 1 The Kreutzer Sonata from 1923. This work was written in response to Tolstoy’s 1899 novella, The Kreuzer Sonata, which was itself inspired by Beethoven’s Sonata No. 9. In four movements, Janáček’s music was distinctly edgy throughout, producing a sense of the jealousy, doubt and rage of the novella and with sly musical references to Beethoven’s work. The quartet brought out all the emotional disorder in this work with their strong, colourful performance.

From left: Dan Russell, Pip Thompson, Ella Brinch, Andrew Wilson

Karen Tanaka’s two movement 1999 work, At the Grave of Beethoven, was next on the program. It explored the themes of the first and second movements of Beethoven’s String Quartet op 18 no 3 and was a peaceful, reflective work with elements of turmoil underneath. The connection to Beethoven’s work was there in the music but the work had its own distinctive and satisfying style. It was given a sensitive performance by the quartet.

The program concluded with Beethoven’s String Quartet in D major op 18, no 3 from 1798. It was actually the first string concerto that Beethoven wrote. It is traditional in form and structure, but Beethoven’s unique style is clearly apparent. It was melodic with sudden dramatic changes creating tension and depth and the quartet’s appealing performance of it was very enjoyable.

All four works were well-played and the links between the works resulted in a concert with an extra dimension of interest.

 

 Photos by Dalice Trost

This review was first published by Canberra CityNews digital edition on 29 November 2025.

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/