The Talich Quartet was formed at the Prague Conservatory in 1961, where they were tutored by Joseph Micka who also coached the Smetana Quartet. The Quartet achieved success at competition in Kromeriz and Belgrade, but their main breakthrough came when they were awarded the title of Laureate by the Association of International Music Festivals in Bayreuth. In 1972, the group crystallised when Jan Talich, nephew of the famous conductor, moved from first violin to viola, and Petr Messiereur became the new leader, bringing world class status to the Quartet.

They began their programme on Tuesday evening with a performance of Schubert's Quartet in Eb major opus 125 No. 1. First performed in Schubert's home in Vienna, thus underlining the intimate nature of the string quartet as a musical form, this is a work of classical purity. The style of chamber music was not congenial to Romantic composers and many of the arch-Romantics, such as Berlioz, Liszt and Wagner contributed nothing to the medium at all. The best works in this disciplined and aristocratic art form came from those composers who had the closest affinity with the Classical tradition and one of the most celebrated of these was undoubtedly Schubert.

In four movements, the Eb Quartet was a rather subdued start to the programme.

One felt the Talich players erring on the side of gentle grace and serenity with dynamics often too muted. Though sonorous, with some wonderful lyrical playing, particularly from Petr Messiereur, it was not until the vibrant Allegro that the group seemed to settle to a more forceful interpretation.

The String Quartet in D minor by Bedrich Smetana which followed was obviously a work with special significance to these musicians from Prague. The two quartets written by this great nineteenth century Czech composer, From My Life, are truly autobiographical. The first in E minor reflects the happiness of his childhood and youth, while the second, in D minor, written in 1883, and performed so dramatically by the Talich String Quartet, expresses the pain from which the composer, depressed, deaf and nearly dead, was suffering as he wrote it.

This was a rich and vital performance abounding in pathos and nostalgia.

Imbued with the heritage of folk melody and dance rhythms which were the hallmark of Smetana's nationalistic style, one felt an authentic and contrasting range of emotions brilliantly expressed in playing of consummate technique and artistry.

After the intermission the programme was devoted to Beethoven's Quartet in Eb major opus 127 composed in 1824 when the composer was forty years old. A mature work, belonging to his third and last period, it was written at a time when Beethoven had accepted the decree of fate that, for him, the only possible source of happiness was to be the soundless world of tones which existed in his head. The compositions of this final chapter in his musical life reflect more and more a meditative character; the former urgent sense of communication of many of his earlier works was replaced here by a feeling of assured tranquillity.

Tuesday night's programme was a marathon of musical energy and intellectual stamina. The Beethoven quartet is no easy finale. So much is demanded from the players in terms of technique, stylistic mastery and, as in all chamber music, finesse. In the Talich Quartet we were not to be disappointed. This was a riveting performance, one of the highlights most certainly the elaborate and splendid set of variations in the Adagio. Here, Beethoven explored his thematic invention to the limits. From the synchronised perfection of the Scherzando Vivace, we were swept to a bright and joyful conclusion in the virtuosic Finale. The recital ended only after an enthusiastic audience enjoyed an encore in the shape of a sublime movement of a quartet by Mozart, reinforcing a popular opinion that, so far, 1994 is one of the most successful Festival agendas ever devised. -- Marjorie Pettit.

REVIEW REV