Tokyo String Quartet Bids Farewell to Princeton In Their Final Country-Wide Concert Tour
Very few chamber ensembles thrive for more than forty years, and few music organizations have the luxury of saying good-bye through music to their loyal and steadfast fans. The Tokyo String Quartet, formed in 1969 at the Juilliard School of Music, is disbanding after forty-four years, some of the most significant of which have included Princeton. The Quartet’s farewell season is taking them back to a number of their favorite cities and concert halls, and this past Wednesday night was Princeton’s turn to say farewell. The four members of the Tokyo Quartet came to Richardson Auditorium to play three of their signature pieces as a nearly full house flocked to hear a concert capping the ensemble’s 40 year performing and recording history with the Princeton community.
Josef Haydn’s string quartets are chamber music gumdrops, and the Opus 103 Quartet in D minor, even in only two movements, is no exception. The two movements, which would likely have been the inner movements of a full quartet, were graceful and charming in their simplicity, and throughout both, the Tokyo musicians maintained their most intimate collective chamber personality. Violinists Martin Beaver and Kikuei Ikeda, violist Kazuhide Isomura and cellist Clive Greensmith played in an elegant manner which made the audience immediately feel at home, as if they were eavesdropping on a living room soirée. First violinist Mr. Beaver played with strength and grace as cellist Mr. Greensmith kept the music flowing, especially in a crisp and sprightly Minuet section. The quartet as a whole demonstrated delicate endings to repeated sections, and presented a sweet yet teasing Trio in a second movement full of Haydn-esque humor.
The Quartet No. 6 of Bela Bartok was much more complex than the Haydn, but no less appealing. Begun in the early days of World War II and not premiered until two years later, this work was both introspective and poignant, especially its final movement capturing a feeling of looking out over the war’s devastation. The first movement began with a soulful and melancholy viola solo played by Mr. Isomura, a fitting recognition of the only continuous and original member of the ensemble. The movement was intense, with a Vivace section marked by furious pizzicato from Mr. Greensmith. Phrases came together well, and the second movement Marcia, containing some of the most demanding passages of the piece, was effective as a march of grief. Mr. Isomura’s expressive viola melody returned in the final movement to close the work with peaceful yet jarring effect.
The Mendelssohn Quartet in E minor which closed the program was also vintage Tokyo String Quartet — melodic and crisp in clarity. Mr. Beaver played a number of key lines as first violinist, with refreshing melodic lines also heard from the second violin. Clean figures were heard from all parts, and the first movement in particular was forceful but not overpowering. An especially sweet melody was heard from cellist Mr. Greensmith in the third movement Adagio, and a non-stop first violin part toward the end of the final movement brought the Mendelssohn work to a close and the Richardson crowd to its feet. The Tokyo Quartet obliged the appreciative audience with an encore taken from Mozart’s K. 499 String Quartet in D major, in a serene “Ländler” character which brought the Tokyo String Quartet’s musical relationship with Princeton to an elegant and glorious finale.