Alexander Zemlinsky

This evening I went with my family to the Chamber Music Yellow Springs concert and competition finale.  We could only stay for the first half of the program during which we heard the Vinca Quartet perform Haydn's Quartet Op. 50, No.5 and Alexander Zemlinsky's Quartet No. 4 Op. 25.


Vinca Quartet at Chamber Music Yellow Springs


The performance of the Haydn was very accessible to my wife and children (ages 10 and 12); they enjoyed it quite a bit.  I thought the tempo of the Haydn was too fast for the venue: the articulation was lost in the cavernous space of the First Presbyterian Church in Yellow Springs.  If they had backed off of the tempo just a bit then the little nuances Haydn would have come forth.
Alexander Zemlinsky.  I'd never heard any of his compositions before and therefore cannot compare the Vinca Quartet's interpretation to anything.  However, this piece had me entranced.  The performance was extremely energetic and completely engaging (for me I should add).  My spouse and kids are not fans of modern music.

While walking to the car I was listening to my youngest daughter explain that she liked music with a recognizable tune, something that you could hum.  This got me thinking about how I listen to and appreciate modern music like Shoenberg, Webern, Berg and Zemlinsky.  I was completely unable to articulate how to listen to music of this sort.  The problem is that the music is like textures.  It is like walking slowly down a pitch dark hallway and dragging your fingertips across the walls: you feel the textures and recognize that patterns exist, but can't quite identify them.  But pause a moment and place your whole palm upon the wall, move palm slowly and you feel the pattern.  Now place your index finger upon the ridge of the pattern and drag it along.  Now the pattern develop distinct form... until your finger slips off the ridge and your back to the vague sense of form.  That is how I enjoy this music.