MUSIC REVIEW : Angeles String Quartet: Illuminating Glimpses of Haydn

A gemutliche ambience pervaded Founders Hall on Sunday. Viennese coffee and strudel during a pre-concert lecture, picnic lunch with the musicians and free commemorative T-shirts all seemed to promise whipped cream and modest, peasant-inspired Landler .

Yet, given the level of performance of the Angeles String Quartet, there was nothing small-time about Ein Kleines Haydn Fest except its five-hour length.

As they have proved many times during the six years of their collaboration, violinists Kathleen Lenski and Steven Miller, violist Brian Dembrow and cellist Stephen Erdody form an eminently responsive and polished ensemble in which respect for the score outweighs individual egos, despite considerable individual accomplishment.

On this occasion, they programmed six quartets as glimpses into Haydn’s development of the genre at different points in his career.

They chose works from his first two sets--Opus 2, No. 1, and Opus 1, No. 3--that demonstrated early ties to concerto and to trio sonata. As soloist, Lenski lent elegant and outspoken leadership, while the others supplied gracefully appointed support.

During the accompanied duet characteristic of Baroque trio sonatas, Miller joined the first violinist to create an intimate Adagio.

The group tackled Haydn’s treatment of counterpoint with illuminating variety. The intricate fugue that ends the Opus 20 set unfolded through finely etched detail, ever balanced, crisp, quiet and transparent. The closing movement of Opus 74, No. 1, written for the London concert halls, found clear voice through urgent and assertive conversationalists.

The four players explored Haydnesque wit, as well. In the Rondo from Opus 33, No. 3, nicknamed the “Bird” because of the grace notes adorning the main theme, they peppered the humor with just enough bite to highlight its substance. Then, they engaged, as equals, in personable repartee during the Opus 64, No. 3, quartet.

The level of control shown by the Angeles Quartet extended to great precision and unanimity of phrasing and rhythm, attentiveness to harmonic color and minute dynamic shading. There were fleeting moments when one might have wished for a greater sense of spontaneity or more tenderness, but none that called for sharper intelligence or better stylistic awareness.