Quartet Vivo's debut concert has a most interesting programme - They played the first work (for Debussy the only work) of each of the composers featured in their particular genre. The group was apparently first a string trio before a flute was included for the flute quartet in the programme, and the appearance of Shane Thio for Debussy's violin sonata further complicated matters.

For all the obscurity of the pieces, the turnout for the concert was surprisingly a full house with an audience of all ages; either the cheap ticket price was attractive or Singapore's music lovers are becoming more adventurous. It really is a good sign when you can tell in ways that musical tastes are changing from just an interest in the bombastic orchestra and the ubiquitous Mozart or Beethoven (though both 'coincidentally' appear in the programme). The only regrettable thing is that given the assorted variety of performing ensemble here, there is the feeling that the 'Quartet' might not appear again after this performance, especially if the SSO spontaneously create chamber groups just to perform for one or two concerts each season. [Ah, that is a typically Singaporean habit, like all these campaigns and schemes... - Ed.]

Mozart's Flute Quartet No.1 is not an evenly balanced work for all the various parts in the ensemble, and apparently it was not meant to be, Mozart having composed it upon a commission by a flautist. The flute played throughout the piece and with its quite distinctive voice drowned out the other three string instruments easily. From the left side of the stage where I was, the flute whistled out very prominently and the cello playing the bass line was next in clarity, the violin and the viola both largely silenced by them. Truth to say the work does not sound terribly interesting to me - the first movement repeats a complete episode several times and eventually progressed to an ending - as per Classical tradition, but the issue is that the musicians do not really make the music develop with each repetition. The second movement has the flute playing an adagio solo and I do like it better in its simplicity without the incongruous support of the string trio.

Debussy's violin sonata came as the next item, and it was a surprise that violinist Kuok Hai-Won produced such a great difference from her subordinate playing in the previous piece. From the start it is telling that the duo paid much attention to each other in coordination, and the balance was excellent throughout the piece. What is admirable about Kuok's interpretation is that she goes out to impress by playing up the dramatic aspect of the piece with panache. Debussy's sonata does benefit a lot from contrasting the materials from the different 'fragments' of it; to be daring and experiment with the moments of violinistic effects and the silence really makes the sonata sound much more virtuosic. Besides one or two instances of inaccuracy in stopping the sliding of notes, I am still very thankful for a overall trusty and brave performance.

From four instruments to two and now to three, the string trio came out proper after the short interval for Beethoven's first trio composition. I would have really attributed the work to Haydn had I not known it - the distinctive part writing for the instruments and the very early Beethoven style is really very much alike to the former's late works. It is unfamiliar Beethoven for me for I consume a lot of his middle and late chamber works, and in my own opinion even his first quartet sounds more 'progressive' than this, useless comparison that may be.

The structure of the trio is out of convention and it is interesting in itself how Beethoven effects thematic transitions comfortably between the disparate parts, though the outburst by the violin in the allegro to change the music's direction is rather startling and awkward. Instrumental balance among the three strings is again a problem here, the viola hopelessly under-projecting its sound by facing away from the audience and the cello sounding intrusive again with her part. Given that the work is so mannered in the classical style, the performing trio does not sound like an ensemble well rehearsed for the genre - the lack of transparency and grace lets down the work severely.

Generally, I left the concert with an ambiguous feeling, both delighting at the freshness of the programming and yet feeling a weakness in the programmed works too, not to mention a total incongruity of it all. A series of chamber concerts organised by the Symphonia Company is certainly good exposure to chamber music, yet there is the question of whether spontaneously gathered ensembles have the aptitude to play well together. The programme notes deserve a mention for being very informative and well-researched.

ONG YONG HUI still believes that a quartet means a group of four.

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