Concert review: Elias Quartet

The Elias Quartet is no stranger to Beethoven or to Wigmore Hall, having recorded the complete quartets on the Wigmore Hall Live label just under 10 years ago. This season, the group returns to the hall with a Beethoven cycle of six concerts, on this occasion presenting Quartets nos.12 and 7.

The first of Beethoven’s late quartets, no.12 in E flat major op.127 saw the Elias breathe as a complete unit from the work’s opening chord. It’s clear that this music has lived within this group for so long, the broad 16-minute slow movement sparkling with intimate beauty.

A detailed account of the third movement Scherzando saw viola and cello lean into the darkness of the sound in their unison passages. The last movement suggested that something has been lost since this quartet’s 2017 recording, with some less-than-clean intonation from first violinist Sara Bitlloch.

The first of Beethoven’s ‘Razumovsky’ Quartets proved more comfortable territory for the Elias. Second violin Donald Grant guided the sound from inside the texture with complete confidence and Marie Bitlloch on cello perfectly judged her dancing solos.

The third movement’s Adagio displayed some remarkable stillness from the players, with the more serious mood suiting their ensemble. And the finale’s ‘Thème russe’ unleashed a true energy between the players with a gripping intensity.

Dependable playing from Simone van der Giessen on viola supported the many scene changes, with Sara Bitlloch committing with exciting tenacity to the very end.

HATTIE BUTTERWORTH