Concert review: Rosamunde Quartet

It’s hard to imagine more impressive pedigrees than those of the all-star Rosamunde Quartet, whose members hail from the Berlin Philharmonic (violinist Noah Bendix-Balgley), the Chicago Symphony (violist Teng Li) and the New York Philharmonic (violinist Shansan Yao and cellist Nathan Vickery). On this occasion, the group appeared at a sizzling evening in the intimate Field Concert Hall at the Curtis Institute of Music, where 240 lucky souls could sit scarcely ten metres away from the performers.

The last time I heard Schubert’s ‘Death and the Maiden’ live was in 2023, with the East Coast Chamber Orchestra and the Jupiter Quartet in Mahler’s expanded arrangement. In the Rosamunde’s hands, an equally gripping Schubert adventure ended this evening of three classics of the repertoire. The galloping final pages, marked Prestissimo, were especially satisfying, often causing Bendix-Balgley to rise from his chair in his enthusiasm.

The evening opened with Beethoven’s op.18 no.3, in an utterly charming reading that gave no clue of the fireworks to come. As an introduction to the ensemble’s spirit and balance, it made an ideal aperitif.

In between came Bartók’s Third Quartet, and Vickery took to the microphone for a brief introduction, recalling his time at Curtis, fond memories of concerts both heard and given, ‘and other terrifying experiences’. His carefully chosen remarks struck an ideal tone and were deceptively civilised prior to the ferocious 18 minutes that followed.

BRUCE HODGES