Shanghai Quartet Blends Old, New for Unified Sound

When the Shanghai Quartet formed in 1983, only first violinist Weigang Li occupied the same position he now holds in the ensemble. His brother Honggang Li also helped found the group, but two years ago, after 11 years as second violinist, he switched to fill the spot vacated by violist Zheng Wang. Newcomer Yiwen Jiang entered as second violinist. In comparison, after six years with the Shanghai, cellist James Wilson seems a veteran.

Despite the mixture of seasoned and new members, using old and new instruments--Honggang wielded a 2-year-old viola, of nontraditional design, built by Hiroshi Iizuka--their sound Tuesday at Founders Hall at the Orange County Performing Arts Center remained uniform and elegant, the interpretations thoughtful and clear, if not always exciting or profound.

Although flashes of conviction in the closing movements hinted at the quartet’s strengths, the foursome seemed to use Haydn’s String Quartet in G, Opus 77, No. 1, as a warmup suitable for conveying security and structural logic but little drama or subtlety.

Zhou Long’s “Poems From Tang” shimmered with soft shadings reminiscent of the intimate ch’in (a zither-like instrument) often imitated in the score. The result of a joint commission by the Ciompi, Chester and Shanghai quartets, this West Coast premiere revealed an amalgam of delicate Eastern melodies and gentle evocations with Western instruments, rhythms and formal approaches. Following the philosophy of interdisciplinary arts practiced in the Tang Dynasty of China, four 8th century poems held an integral role in the composition and--with translations provided--the work captivated.

The ensemble brought multifaceted hues and rhythmic purpose to its stormy account of Ravel’s String Quartet in F. Together, the players explored its mystery and urgency. Individually, they offered dark, sensuous solos.