Music / “Florescence”, Australian String Quartet. At Gandel Hall, National Gallery of Australia, July 23. Reviewed by LEN POWER.

“FLORESCENCE”, or full-flowering, was an apt theme for this dazzling concert of four parts.

The Australian String Quartet has been performing internationally since 1985. Based at the University of Adelaide, where they are Quartet-in-Residence, the four performers – Dale Barltrop (violin), Francesca Hiew (violin), Christopher Cartlidge (viola) and Michael Dahlenburg (cello) – have a formidable set of individual credits between them.

Begining with “Movement for String Quartet” by Australian violist and composer, Justin Williams, this work, written in 2020 during the covid lockdown, was dark and edgy with a mood of uncertainty, contrasting with joyful flashes of optimism. It captured the emotions of that year perfectly.

The second work performed was Franz Joseph Haydn’s “String Quartet in B minor”, one of six quartets by the composer that were published in 1781. The first movement was unusual, having only one melody instead of the traditional two. It was inventive and playful and led on to a joyful second movement of question-and-answer phrases that were a delight.

The third movement was a slow, stately dance and this brought us to a wild and furious finale that was brilliantly played.  It was the highlight of the first half of the concert.

Fantasia No. 6 by Henry Purcell opened the second half of the program. Written in 1680 for four viols (predecessors of today’s string instruments), it is has four different melody lines, two fast lines and two slow. The slow sections were sublimely atmospheric, ending in a peaceful resolution.

The final work presented was Antonin Dvoȓák’s “String Quartet No. 14 in A-Flat Major”. Composed in 1895, it was his final string quartet.

The work is full of warm, dance-like melodies, at times reflective and lyrical, and with Dvoȓák’s use of Czech folk music. Each part had its own unique sensibility, leading to a final movement that brought it all together to a satisfying and triumphant close.

The performance of each of these works was masterly and clearly demonstrated that this quartet is at the top of their game – in full-bloom, you might say.