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SCRUTINY | Czech Prazak Quartet Performs Rarely Heard Bruckner Work At Jane Mallett Theatre

By John Terauds on March 3, 2017

Prazak Quartet
Prazak Quartet

The Prazak Quartet at Jane Mallett Theatre. March 2.

It’s always a treat to hear one of the world’s respected veteran string quartets dig their bows into the meat of the classical repertoire. Thursday night’s Music Toronto visit at the Jane Mallett Theatre by the Czech Prazak Quartet was no exception.

Violinist Jana Vonaskova is a recent, 2015, addition to the group which still counts founding member violist Josef Kluson, from way back in 1972. Violinist Vlastimil Holek and cellist Michael Kanka have not been around that long, but precede Vonaskova by many years. This is a performing quartet that records prolifically. Their extensive repertoire — exhaustive in the case of central European composers — is in their blood and in their bones. But they can still surprise.

Thursday’s surprise was a C-minor string quartet written by Anton Bruckner in 1862. The devoutly Roman Catholic Bruckner is known for his choral works and for his sprawling symphonies. The tidy, 20-minute, four-movement quartet is a different sort of creature. It is usually no surprise when we get to hear neglected works to realize that they are ignored for a reason. Bruckner’s quartet has a clearly delineated form, carefully woven themes, and suitably contrasting moods. The music is pretty, its architecture is neat, but, in the end, it comes across as a fine study in form more than an outpouring of great musical ideas.

As such, the Bruckner quartet was a nice companion on the program with Joseph Haydn’s Op. 71 No. 1 Quartet in B-flat Major, one of his great Salomon quartets premiered in London in 1794. The Prazak’s delivered beautiful interpretations of both works: intensely musical, gorgeously shaped, largely soft-edged, and laced with an abundance of vibrato. Their playing was supremely elegant yet infused with a discreet musical drive. Even after so many years of doing this, the string players convinced us they can’t imagine doing anything but treating their audiences to the best.

I have to note that, despite these polished yet vibrant interpretations, Vonaskova had persistent moments of tenuous intonation — something that was most noticeable in the Haydn quartet, which makes its heavy demands of the first violin. Young quartets these days come on stage with perfect techniques, so it is surprising that Vonaskova was not having the best possible night.

That said, perfect techniques do not guarantee riveting recitals. And the Prazaks were riveting in their program closer, the great F Major “American” String Quartet No. 12 by Antonin Dvořák, premiered in Boston in 1894. This was chamber music at its most affecting. It also showcased this foursome’s wonderful communication, and ability to colour the music with careful interventions from the middle lines of the score.

It was impossible not to leave the hall without a big smile. This was the Prazaks’ seventh recital for Music Toronto since 1993, and, hopefully, far from the last.

For more REVIEWS, click HERE.

#LUDWIGVAN

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