Music / “4+1”, Grevillea Quartet and harpist Rowan Phemister. At Larry Sitsky Recital Room, September 11. Reviewed by ROB KENNEDY.

FRENCH chamber music is the most alluring sound in all classical music, but with the harp added to a string quartet as in this concert, the soothing and drifting quality of its sound created another dimension.

The Grevillea Quartet and Rowan Phemister on harp, performed a concert of all-French music in the ANU’s Larry Sitsky Recital Room. Shilong Ye, violin, Matthew Witney, violin, Julia Clancy, viola, Samuel Payne on cello made up the Grevillea Quartet.

The “Suite” op. 34, by Marcel Tournier, originally for flute, violin, viola, cello and harp opened the concert. Tournier (1879-1951) was a harpist, composer, and music teacher. His music is often performed in concerts and still used as examination pieces for the harp.

Tournier’s gentle and impressionistic music for this suite floats and bends like the breeze. Through the calm and expressive first part, it moves on to danse mode as imagery of drifting bodies can be experienced. Soon, a melancholic song glided along through a deeply yearning tune.

Then a festival of animated music completed this gorgeously written suite that shows French chamber music is the most alluring and descriptive of all small-form concert works. Grevillea and Phemister captured the essence of this alluring suite. However, with such introspective music, getting the tonal balance right was difficult for the string players.

As a favourite piece of Phemister, the “Impromptu for Harp in D flat Major”, by Gabriel Fauré, came next.

This may be the most perfect piece for solo harp. In D flat Major, which works well on the harp, this composition showcases the tonal qualities of the instrument. It’s so delicate and airy it doesn’t sound real. But Phemister made it sound perfect with a stunning performance.

The immediacy of the opening movement in Claude Debussy’s “String Quartet in G minor”, Op. 10, grabs a listener. It trembles with intensity and offers surprising delights throughout. Grevillea had this piece right in their comfort zone. Their music-making was clear, direct, and performed with passion.

It’s a treat when a quartet is totally in sync; everything just falls into place. The searching first movement, restless in nature, speaks of anguish. The tunes within tunes, especially for cello make it sound like several compositions at once.

The complex second movement creates a small musical universe. It’s a highly active section, so much so it’s difficult to keep up with all that goes on. The echoing of lines as notes rush by, the constant pizzicato, telling another story. The slight dissonance, holding this section together.

The achingly beautiful slow movement counterbalances the second. It answers what took place as if to say, now it’s time for contemplation. The quartet made it sound ethereal. Again, the cellos song took a central role. The lilt and panache of the slow section almost defies description.

That cello again, in the opening of the last movement, took the work into a mysterious place. Through several earthy chords, then into a frenzy of notes, this work built in depth and tone. Every player created a strong individual voice as it jumped in dynamic while sounding dreamy.

Debussy’s only string quartet is an astonishing work, and Grevillea did it justice through a strong and competent performance.