Yesterday saw three semi-finalists selected for the Grand Final of the Wigmore Hall String Quartet. The three quartets who've secured their place in the final – Goldmund, Esme, and Viano, have already won a cash prize. Who gets awarded what is decided in the final that starts at
I attended the first semi-final at Wigmore Hall yesterday afternoon. Right from the
In this way, the Goldmund Quartet set the bar high for the first semi-final. Quartuor Tchalik who followed didn't seem able to reach the same emotional depths – the dynamic range was undoubtedly there, but some of the intensity was missing. The third movement cello pizzicato solo in Beethoven's Op.59 No. 1 certainly brought the group into the right groove, but even then I still wanted them to go further. Emotionally, I wanted to be put through the ringer, so to speak.
And having heard two performances of Beethoven's Op.132 in A minor, I think that both the Marmen Quartet who followed in the first semi-final and Quatuor Amabile who concluded the second semi, chose works with uncompromisingly demanding openings. In the case of the Marmen quartet it felt like there was some timidity at the start which made me feel uneasy; Quartuor Amabile pulled off a more convincing start in comparison.
This isn't a foregone conclusion
That's not how the decision is necessarily made. As with each stage in this competition, I've been reminded
It's an addictive experience
That's one of the things that has pulled me into this competition a whole lot more deeply than I ever imagined it would. Having a range of performances and groups to compare and contrast makes for a far more immersive, and I'd also suggest addictive, concert experience. Hearing contrasting groups has helped me better understand playing practise, the impact chemistry (or a lack of it) has it on a performance, and it's resulted in me hearing a whole lot more chamber music by Beethoven in one day than I've heard in a long long time.
Trust your listening instincts
I've also been reminded about how engaging with this art form is about learning to trust our own individual listening instincts. When I heard the Goldmund in the Wigmore I knew immediately I loved what I was hearing. But, as much as I love writing (loads of copy), I'm not sure I could exactly pinpoint the mechanics of that musical creation (probably a good thing for all concerned).
I assumed when I sat down to watch the second semi-final on YouTube that I'd struggle more to have an instinctive feel for who I connected with and who I didn't. But it didn't turn out to be that way. There is a feeling you get when something special is happening on stage whether you're there in person or watching online. I still find it difficult to explain, but its what I'm always looking for as a listener.
Nearly half as many more viewers on Facebook than YouTube
What really surprised was the number of people watching on Facebook rather than YouTube. I notice at the time of writing that there were over 1K viewers of the second semi-final on Facebook as opposed to approximately 600 on YouTube. My assumption was that more people would be watching on YouTube as the app offers more opportunity to cast to connected TVs. Inevitably, I'm now fascinated to know what the demographic is watching on Facebook.
The finalists of the Wigmore Hall String Quartet Competition 2018
Watch the Wigmore Hall String Quartet Competition final on Sunday 15 April from 6pm, streamed live on the Wigmore Hall YouTube channel or via the Wigmore's Facebook page.
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