UTOPIAS

Adelaide’s UKARIA group aims to connect artists, audiences and creativity. In 2010 one of their projects was to reunite a set of stringed instruments made in the 18th century and put them into the hands of Australia’s most outstanding string quartet. These were two violins, a viola and a cello made by Giovanni Battista Guadagnini, Italian luthier and one of the most respected instrument-makers of our time. These instruments – worth more than $6 million – are now played exclusively by the Australian String Quartet. And to say that it is a delight to see them in action is an understatement.

There is something uniquely rich in the music made by these match-made instruments. And when in the expert hands of Dale Barltrop, Francesca Hiew, Christopher Cartlidge and Michael Dahlenburg, the synchronicity of sound and harmony is a musical experience you will not hear anywhere else. These young musicians hail from Brisbane and Melbourne, with a mix of international study and performance experience. They work together absolutely seamlessly and it is a joy to watch their subtle interactions as the performance is intuitive and effortless. I also enjoyed the personal touch of each player introducing the programme’s work, connecting us to the composer and the background to each piece. (However, the Conservatorium Theatre’s microphones could use an upgrade for this role, and we’ll have to meet Michael Dahlenburg next time).

For the UTOPIAS programme, the group chose an elegant mix of new and old to take the mind to paradise, perfection and promise. First, from modern British composer Thomas Adès, ‘Arcadiana’ (1994) a cinematic piece exploring seven ideas of paradise, from dissonant landscapes to serene scenes. Mozart’s ‘String Quartet No.15 in D minor, K.421’ (1783) followed, Wolfgang’s four movements building a harmonious feast for the senses. This was in dire contrast to the composer’s reality at the time, as we were informed he was living in harsh circumstances, a struggling freelancer, awaiting the birth of his first son. This piece ended the first half of the programme, leaving for last Shostakovich’s ‘String Quartet No.9 in E-flat Major, Op.117’ (1964), a fierce manifesto in five movements of the composer’s vision for a promising future, in clashing contrast to his writing environment at the time, living in the USSR under a regime he disagreed with and where artists could be censored and worse. Despite this, the man’s music is uplifting and energising.

This was an incredibly satisfying programme, performed to perfection. The background story-telling and scene-setting added a valuable layer to the presentation and also allowed us to meet the performers. The four instruments gathered for this quartet were made in the Tuscan region of Northern Italy described by Leonardo da Vinci as “the land of passage”. These musical travellers have found their way to a new home in Australia, and this quartet seems to be fuelled by the excitement of their journey. I look forward to seeing them again soon.

The Australian String Quartet perform UTOPIAS once more in Melbourne on 22 May before their next tour, FLORESCENCE, which starts in Canberra on 23 July 2023.

Beth Keehn

Photographer: Jacqui Way

Find out more: asq.com.au