Amal Choucri Catta extols the virtues of the viola d'amore Concilium Musicum Wien, Austria, Sayyed Darwish Theatre, Alexandria, 22 November, 8pm and Small Hall, Cairo Opera House, 24 November, 8pm Among the concerts of the past two weeks, one of the most interesting was, undoubtedly, that given by the Concilium Musicum, a Viennese quartet with flautist Christian Gurtner, violinist Thomas Trsek, cellist Elisabeth Taschner and Christoph Angerer performing on the viola and the viola d'amore, at Cairo Opera's Small Hall. The four musicians were playing on period instruments, dating between 1720 and 1780, including the transverse flute, a side-blown instrument, distinguished from the recorder or flageolet, which is end- blown, and as well as to the viola d'amore, or love-viol, which produces a particularly strong, beautiful sound. It belongs to the viol family, a bowed, string instrument without frets, larger than the modern viola, with fourteen strings which vibrate to the sound of the stopped strings. Meyerbeer, Massenet and Puccini made ample use of the instrument in their operas, while Janacek and Hindemith introduced the viola d'amore into modern compositions. The viola, a forerunner of the violin-family, is generally a four-string instrument, larger than the violin, which was invented at some time in Italy, before 1550, and regarded as the instrument for dancing, whereas the viol was its courtly equivalent. The viol itself was developed in the Renaissance period: it was superseded by the violin-family and is now revived for performances of early music. As for the violin, it was perfected by one man, Andrea Amati of Cremona, Italy, from whom the King of France ordered 38 string instruments in 1560. Andrea's grandson, Nicola, is considered the greatest of the Amatis: among his pupils were Stradivari and Guarneri, among the greatest names of violin makers. The four instruments fascinated a very attentive audience. The concert started with Josef Haydn's Divertimento in D-major for transverse flute, violin, viola and cello, Hoboken II, D 11, in four movements. A delightful piece of music filled with charming surprises and masterfully performed by the quartet. In all his music Haydn's inventive flair seems inexhaustible. He delighted in exploiting the capabilities of solo instruments and virtuoso performers, and every genre in which he worked, he enlarged, extended and re-shaped. He developed a particular form, hallmarked by deep feeling, drama, elegance and wit. That night the flute was of an impressive fluidity and purity of sound. Next on the programme came the Partita II in D-major for viola d'amore, violin and cello, in four movements, by Johann Georg Albrechtsberger, an Austrian composer. He was born in 1736 in Vienna, where he died in 1809. Organist at the Viennese Court, he is best remembered as a teacher and the author of many theoretical works, including an important textbook on composition, widely used in its English translation. Albrechtsberger counted Mozart and Haydn among his friends, and Beethoven among his pupils. The trio gave their audience a highly accomplished performance, with the musical colours evident from the very opening bars of the first allegro moderato. The viola d'amore was particularly brilliant: the sound overwhelmingly beautiful. One wished for more. D-major seemed to be "en vogue"; the first part of the concert closed with Mozart's Quartet in D-major for transverse flute, violin, viola and cello, KV 298, in three movements. Mozart is one of the most popular composers, much loved by local audiences. There was charm and gaiety in the Allegro and a rather meditative melancholy in the Adagio, giving the work an enchanting ambivalence. Johann Nepomuk Hummel was an Austrian pianist and a prolific composer. Born in Presburg in 1778, he died in Weimar in 1837, aged 59. He had his first music lessons with his father before living and studying the piano with Mozart for two years. He was Kapellmeister to Prince Esterhazy and, at a later date, conductor in Stuttgart and Weimar. Hummel toured extensively in Europe, conducting the German Opera, among others, in London, while composing numerous works, including concertos, sonatas, operas, oratorios and chamber music. His compositions have melodic race and their craftsmanship was much appreciated by musicians and composers of his time. His relationship with Beethoven fluctuated, but they were reconciled at Beethoven's deathbed. Hummel was pall-bearer at Beethoven's funeral and played at his memorial concert. His Three dances for the Apollo Hall, for viola d'amore, violin and cello, arranged for the trio by Paul Angerer, were of light and pleasant textures. Last on the programme came another Austrian, Ignaz Pleyel, born in Vienna in 1757. Composer, violinist and pianist, he studied with Haydn for five years at Esterhaza and travelled a lot, mainly to Naples where his opera Ifigenia in aulide was performed. Pleyel was also the founder of the well-known Pleyel piano factory, which he set up in Paris in 1807. He composed over 20 symphonies, chamber music and concertos and died in Paris in 1831. His son Camille became a partner in the company which merged, in later years, with Gaveau-Erard, while still producing pianos under the name Pleyel. However, in 1976 the merged firm was bought by Schimmel of Brunswick. The three movements of Ignaz Pleyel's Quartet in B-major Opus 20/2 for transverse flute, violin, viola and cello, were filled with warmth and fluency. Christian Gurtner, Thomas Trsek, Christoph Angerer and Elisabeth Taschner, brilliant soloists of the Austrian school, gave their audience an exquisite performance. Their choice of Austrian composers, coinciding with the age of their instruments, was perfect. They loved their instruments and their music and the audience loved them. They gave us two Encores by the Strauss family. The concert could have gone on for ever.
