Tuesday, March 28, 2006 Jupiter Quartet is out of this world, by Holly Harris

Youthful Jupiter String Quartet blazed through a program of classic chamber music Sunday night, living up to its bright planetary namesake in the latest instalment of the ever-popular Virtuosi Concerts series. The show marked the penultimate appearance of the Boston-based quartet in a 20-stop Canadian tour, part of the first-place prize package from the prestigious Banff International String Quartet Competition (2004). It's difficult to believe that these musicians -- all twentysomething -- have been together for under five years. Violinists Nelson Lee and Meg Freivogel, violist Liz Freivogel and cellist Daniel McDonough bring a rich maturity and unerring sensitivity to each other that is well beyond their years. Though two of the members may be related by blood (Meg and Liz are sisters), all are related by an intense, fervent musicality that bonds them like true family. The program opened with Haydn's Quartet in B flat Major, Op. 76, warmly known as the "Sunrise." The quartet appeared to effortlessly pull notes out of thin air, as phrases bled into each other in a tightly woven, luminous fabric. Admittedly, theirs was a more romantic spin, but the flawless execution and impeccable intonation brought Haydn's graceful music to life that was always within the bounds of good taste. Guest Italian pianist Roberto Plano is an emerging artist who lists being a finalist in the 2005 Van Cliburn and laureate of the 2003 Esther Honens international piano competitions among his many awards. Plano's lovely, lyrical melodic lines in Schubert's Piano Sonata in A minor, D.537 brought emotional shading and clarity to this lesser known work. While the string quartet may be the ultimate in musical civility, the ensemble also showed its teeth with a fiery interpretation of Brahms' Piano Quintet in F Minor, Op. 34. Some initial harshness in the violins quickly settled as the quartet found its equilibrium with the piano. A rapturous Andante movement underscored what this quartet does best: listening. Whether playing or not -- as in the tacet sections -- the four listened intently and deeply to each other at all times, creating a perfectly simpatico body. Some staging conundrums, which have been a challenge in the past for this series, continue to persist. A cluttered stage (did we really need to see a vacant page-turner's chair?) began to resemble a green room more than a recital hall, with Plano in particular appearing squished upstage among empty chairs, music stands, and microphones during his solo. This remains a riddle to be solved. The quartet was given a rousing standing ovation by the audience. Hopefully, Winnipeg chamber-music lovers will not have to wait too long to hear from these powerhouse players again.