Concert review: Hsin-Yun Huang (viola) Brentano Quartet

In yet another fascinating marathon (following its Haydn op.33 marathon last season, reviewed here), the Brentano Quartet and violist Hsin-Yun Huang gave audiences the rare chance to hear all six of Mozart’s string quintets. Over the course of the five or so hours, the word ‘balance’ kept coming to mind. As in conversation, to add a fifth player creates a unique dynamic, and the additional violist adds mid-range depth, especially with Hsin-Yun Huang’s 1735 Testore instrument.

Right off the bat, the B flat major Quintet K174 showed the precision and camaraderie that would mark the entire traversal, especially in the joie de vivre of the final, ticklish Allegro. For the D major Quintet K593 that followed, the careful balance continued, especially potent in the blissful idyll that is the Andante. But perhaps it was the C major Quintet K515 before interval that caused the greatest audience response, acknowledging both the expertise and perhaps the piece itself.

In the second half, the C minor Quintet K406 proved irresistible, as did the high spirits of the E flat major K614 in its penultimate slot on the programme. When the group reappeared for the G minor Quintet K516, the musicians were greeted with a roar worthy of Olympic athletes. Their ability to maintain stamina over the long span was a marvel.

Similar to the Haydn outing, each of the two concert halves was separated by a 45-minute interval, with audience members encouraged to sample food and drink from local purveyors in the foyer. Speaking of refreshments, hearing all six quintets in relatively rapid succession could be compared to a surfeit of desserts – the aural equivalent of being at a restaurant as an ornate pastry cart rolls by, and the waiter smiles, ‘You’ll take all of them, yes?’

BRUCE HODGES