Vermeer Quartet

Review: Vermeer Quartet | Chamber Music Society of Fort Worth | Kimbell Art Museum, Renzo Piano Pavilion

Last Notes

The Vermeer Quartet reunites, with a notable exception, to play Haydn's Seven Last Words of Christ for Chamber Music Society of Fort Worth.

published Monday, April 21, 2014

Vermeer Quartet
Fort Worth — A world-class string quartet is a collaboration that is in many ways like an exceptional marriage, albeit one with four members. Each person brings out the best in the others, and helps the others achieve more than he or she could have independently through encouragement, open communication, and like-mindedness. In the case of the quartet, although each individual must bring his or her own fine musicianship to the group, the whole will ideally be greater than the sum of the individual parts of each player’s skill.  The Vermeer Quartet exemplified that ideal for four decades. They retired from regular concertizing in 2007, emerging a time or two for special performances, notably to play the work for which they are best known, Haydn’s The Seven Last Words of Christ.

The Vermeer in its original incarnation was irrevocably broken 11 days before Saturday’s concert at the Kimbell Art Museum, however, when cellist Marc Johnson died of a heart attack. His former student Kurt Baldwin stepped in at the last minute. The poignancy of the three remaining members performing a work which they had played together so many times, a work depicting the death of Jesus on the cross, only a few days after the passing of a collaborator of so many years’ standing, was palpable.

So was it their best performance ever? Was it the technical equivalent of their boxed set of Beethoven quartets that sits on my shelf, or the recording of this very piece that earned the Vermeer a Grammy nomination? No. Of course it wasn’t. They retired eight years ago and are grieving the death of a dear friend. So there were pitch issues and a missed shift here and there, and sometimes they just sounded tired.

None of that mattered much.

They schooled listeners in interpreting Haydn’s music. Bow strokes were just the right length, crisp without being choppy, and the amount of projection and depth of sound that first violinist Shmuel Ashkenasi achieved with so little bow weight was remarkable in piano and pianissimo sections. Phrase endings were nearly flawless. The Vermeer is the definitive modern interpreter of the quartet version of The Seven Last Words of Christ. To hear them play it for what is likely one of the last times, even without their original cellist, is a great gift. Their best moments Saturday afternoon were breathtaking.

This piece is novel in that it includes seven main sections, all labeled as “sonatas,” and all in slow tempos, bookended by a maestoso introduction and a presto conclusion meant to evoke the earthquake that believers assert occurred immediately following Christ’s death on the cross.

Haydn originally composed the work for full orchestra, and then a year or two later arranged it for quartet. There is also an oratorio version and a solo piano rendition that Haydn did not create himself, but did personally endorse. Now, the quartet version is most frequently played. 

Before each section, speakers read meditations on each of Christ’s last words, beginning with “Father, forgive them, for they know not what they do” and ending with “Father, into thy hands I commend my spirit.” For this performance, the speakers were nearly evenly divided among clergy and laity, and the clergy represented Catholicism, Protestantism, Islam, and Judaism. 

For the most part, seemingly with one exception, the meditations were thoughtful and respectful of nonbelievers as well as members of other faiths, although no Eastern religions were represented.

Architect Renzo Piano, who designed the new addition to the Kimbell including the auditorium, was present for the performance, and the auditorium was completely full. Thanks For Reading

Dates, Prices, & Other Details

Comment on this Article

Share this article on Social Media
Click or Swipe to close
Last Notes
The Vermeer Quartet reunites, with a notable exception, to play Haydn's Seven Last Words of Christ for Chamber Music Society of Fort Worth.
by J. Robin Coffelt

Share this article on Facebook
Tweet this article
Share this article on Google+
Share this article via email
Click or Swipe to close
views on theater, dance, classical music, opera and comedy performances
news & notes
reports from the local performing arts scene
features & interviews
who and what are moving and shaking in the performing arts scene
season announcements
keep up with the arts groups' upcoming seasons
listen to interviews with people in the local performing arts scene
media reviews
reviews and stories on performing arts-related film, TV, recordings and books
arts organizations
learn more about the local producing and presenting arts groups
performance venues
learn more about the theaters and spaces where the arts happen
keep up with fabulous ticket giveaways and other promotions
connect to local arts crowdfunding campaigns
post or view auditions and performing arts-related classes, services, jobs and more
about us
info on TheaterJones, our staff, what we do and how to contact us
Click or Swipe to close
First Name:
Last Name:
Date of Birth:
ZIP Code:
Your Email Address:
Click or Swipe to close
Join TheaterJones Around the Web

Follow Us on Twitter

Subscribe to our Youtube Channel

Click or Swipe to close
Search the TheaterJones Archives
Use any or all of the options below to search through all of reviews, interviews, features and special sections. If you are looking for a an event, use the calendar section of this website. This search will not search through the calendar.
Article Title Search:

Description Search:
TheaterJones Contributor:

TheaterJones Section:

Showing on or after:      Showing on or before:  
Click or Swipe to close
We welcome your comments

I am discussing:  

Your Name:
Your Email Adress:

please enter the text below and then click or tap SUBMIT :