MUSIC REVIEW : Quartet Performs at Center to Launch a Possible Series

A prospective chamber music series at Founders Hall in the Orange County Performing Arts Center was given its first test on Sunday afternoon by a quartet including violinist Mitchell Newman, violist Ralph Fielding, cellist Barry Gold--all members of the Los Angeles Philharmonic--and pianist Armen Guzelimian. Billed by Center officials as “Sundays at Four,” it is, so far, only Sunday at Four. No other programs have yet been announced.

At first glance, one would not expect Founders Hall to be conducive to an intimate musical experience. The room is quite stark in appearance--bare walls adorned only by illuminated exit signs, black, scuffed tiles on the floor, utilitarian red, white and blue lights hanging from slim metal pipes. On this occasion, a small makeshift stage held the three string players; the Steinway grand stood on the floor, and wooden risers supported an audience seating in the round.

It is, of course, not the adornments but the acoustics that determine the musical ambiance of a hall. At Founders Hall, the acoustics are lively enough to convey nuance at all dynamic levels and through all ranges without being troubled by brassiness or distracting reverberation.

Piano quartets by Faure (C minor, Opus 15) and Brahms (G minor, Opus 25) were the foursome’s vehicle. Considering that this was their first public appearance together, the quartet members seemed remarkably comfortable with one another, matching warm, vibrant tone, striving with unity toward musical goals.

In the Faure, four colorists drew from the same palette, caressing consecutive entrances as they passed the lush, inviting first-movement theme to one another, bringing a hymn-like reverence and concentration to the Adagio (after which, the delicate intensity of the mood they had created was violated by premature applause), sensual focus and excitement to the Allegro molto.

But the Brahms was their tour de force. Here, the strings allowed an edge to creep into their tone for Brahmsian brooding, while Guzelimian maintained his round, romantic tone throughout. Cellist Gold and violist Fielding took full advantage of Brahms’ predilection for dark hues in their soulful solo passages.

As a group, the four spun excruciatingly intense long lines in the Andante and climbed to a shattering climax in the Allegro. Together, they attacked the massive opening of the Gypsy Rondo. Separately, each in turn launched his successful assault on frenetic passages in the same movement.

In a seating arrangement for 230, there were 138 apparently grateful witnesses.