A Dynamic, Relevant Grand Finale to This Year’s Momenta Festival
Over the past four years, the Momenta Festival has become one of New York’s most exciting annual events. Each member of the irrepressibly daring Momenta Quartet takes his or her turn programming a night. The festival usually ends on violinist Emilie-Anne Gendron’s birthday. This year’s grand finale, Friday night at the Tenri Institute, happened to be cellist Michael Haas’ birthday: he and the group celebrated by going starkly deep into a program centered around Bartok’s harrowing String Quartet No. 4.
. As he explained succinctly before the show, it’s a piece he’d been scheming to play ever since joining the ensemble five years ago. As was the case last year, admission was free, and there was high-grade craft beer afterward, also courtesy of the hosts. What more could a concertgoer possibly want?
They opened with Eric Nathan’s diptych Four to One, from 2011. Interestingly, this was the only contemporary work on the bill. It set it the bar almost impossibly high for the rest of the evening, notwithstanding the iconic Bartok quartet immediately afterward. Right off the bat, it became a harried, relentless, microtonal rollercoaster ride, the group holding fast to the counterpoint amidst the storm. Violist Stephanie Griffin’s plaintive assertions were particularly striking, as was Gendron’s turn in the rather cruel spotlight over a menacing wash in the second part. Haas’ cello was also stark yet prominent: it’s not hard to see why he’d want to program this. It reminded a lot of Michael Hersch’s recent, troubling microtonal work.
The performance of the Bartok turned out to be one of the very best of many witnessed by this blog or its owner over the past couple of decades. The persistent sense of doom the quartet parsed with razorwire intensity had particular resonance in this post-2016 election era. Menacingly emphatic gestures leapt from the dark interweave of the first movement, danger drawing ever closer. The circle dance in the second was just as macabre, especially with the exchanges of voices between instruments. Haas’ plaintive cavatina, echoed incisively by violinist Alex Shiozaki, brought the longing and if-only atmosphere of the third to a peak: it was impossible not to think of Shostakovich being influenced by this when writing his String Quartet No. 7. Both the savagery and after-the-battle emotional depletion of the final movement were just as indelible a reminder of the perilous consequences of fascism. The more things change…
Augmented by the Argus Quartet – violinists Jason Issokson and Clara Kim, cellist Joann Whang and guest violist Rose Hashimoto – the Momentas wound up the program with a triumphantly anthemic take of Enescu’s Octet for Strings in C Major. The young composer wrote it at nineteen in a rather successful attempt to outdo Mendelssohn at teenage octetry. The main theme has a suspenseful Andalucian feel, which grew to echo the Ravel bolero in places: together, the group reveled in the dramatic foreshadowing, even if it grew facile in places. A more mature composer might have written it half as long, but even so, when the synopsis of the final movement finally circled back, there was no denying how much of a party this merry band had brought.
The Momenta Quartet are currently on tour: their next gig is tomorrow night, Oct 24 at 7:30 PM playing works by Agustin Fernandez, Roberto Sierra, Eric Nathan, and Philip Glass at Santa Teresa Church in Cochabamba, Bolivia. The Argus Quartet’s next New York show is on Nov 13 at 7:30 PM at Weill Hall at Carnegie Hall, playing an excellent, diverse program including Janacek’s String Quartet No. 2, “Intimate Letters,” along with works by Haydn, Ted Hearne, Juri Seo and Christopher Theofanidis. Cover is $25/$15 stud.