Edward Dusinberre
www.takacsquartet.com/press_dusinberre.html
first violin of the Takács Quartet, was born in 1968 in Leamington Spa,
England. He studied with the Ukrainian violinist Felix Andrievsky at the Royal
College of Music in London and at the Juilliard School with Dorothy DeLay and
Piotr Milewski. In 1990 he won the British Violin Recital Prize and gave his debut
recital in London at the Purcell Room, South Bank Centre. Upon completion of
his studies at Juilliard, Dusinberre auditioned for the Takács Quartet, which
he joined in 1993.
His book, Beethoven For a Later Age: The Journey of a
String Quartet, was published by Faber and Faber www.faber.co.uk/shop/music/classical-music.html
in January 2016 and will be published by
the University of Chicago Press in May 2016.
ISBN 9780571317134 Published 21/01/2016 Hardback 272 pages |
The title of Dusinberre’s book is taken from Beethoven’s
comment of his Opus 59 quartets 'They are not for you but for a later age!' Originally
the idea of Edward Dusinberre’s agent, this volume takes the reader inside the
life of a string quartet, melding music history and memoir as it explores the
circumstances surrounding the composition of Beethoven's quartets and the Takács
Quartet's experiences rehearsing and performing this music.
Each chapter relates to a stage in Dusinberre’s life with
the Takács Quartet as well as to a Beethoven quartet, bringing some fascinating
insights. The list of members of the Takács from their inception in 1975 until
the present time indicates that despite a number of changes to the their
line-up, they have maintained a continuity with founder members, second
violinist, Károly Schranz and cellist András Fejér remaining to this day.
Prologue: Opus 131
is a fascinating and detailed account of what it is like to be on the platform
of the Wigmore Hall, London to play Beethoven’s String Quartet Op. 131, from
the anticipation of the concert through the opening bars taken by Dusinberre,
the interaction between players, the decisions in rehearsal as well as some
detailed description of Beethoven’s Op.131 from a performer’s perspective, all
encompassed within the scope of this account of a performance.
1 Audition: Opus 59
No.3 reveals Dusinberre’s light and humorous side when he goes back in time
to talk of his visit at the age of 23 years and fresh out of the Julliard
School, to Boulder, Colorado to audition with the Takács Quartet (where they
are undertaking a residency at the University). Talk of his practice for his
audition reveals further information about Beethoven whilst mentioning the Takács
move from Budapest to Boulder and their families’ difficulties adjusting to a
new country. He reveals how the Quartet manage difficulties in finding
agreement on performance issues with much detailed description of working with
the Takács towards a second audition performance. Finally there is the phone
call from the Quartet inviting Dusinberre to join them as a member.
2 Joining the
Quartet: Opus 18 No.1 it is the same detailed description of working with
the Takács on Beethoven and extended information about the composer that
reveals so much. Whilst he talks about the quartet and their families on a
personal level he intersperses with more about Beethoven and his personal life
as well as his own first concerts with the Takács Quartet and foreign tours.
3 Fracture: Opus 59
No.2 opens with a glorious mishap that occurred whilst the Quartet were
reaching the end of Beethoven’s quartet Opus 59 No.2 before moving on to Beethoven
life when he wrote the Opus 59 No.2 quartet. He reveals the Takács selection of
instruments, in particular a ‘new’ instrument for himself, as well as more
about how the Quartet develops a performance. Finally there is the terrible
news of violist Gabor Ormai’s terminal cancer, so sensitively written.
4 Re-creation: Opus
127 covers the fascinating aspect of the Takács recording their Beethoven
quartet cycle. New violist, Roger Tapping joins and there is much about their
changing interpretation of Op.127, about Beethoven and Op.127 and the late
quartets, interspersed by the recording of Op.127 and all the inherent problems.
Interestingly, Dusinberre talks of the stress of listening to their CD that
appears a year later, together with Roger’s announcement that he will be
leaving the quartet.
5 Convalescence: Opus
132 brings more health concerns when founding cellist András Fejér is found
to have a blocked artery. Happily he is still with the Quartet today but the
members, on lawyers’ advice, take out life insurance policies on each other –
just in case. Geraldine Walther joins as
violist and it is revealed that ‘after
ten years of working together we find ourselves continuing to examine basic
questions of character and pacing , a debate perhaps more easily inspired by a
new player, but also essential amongst four players who may become too
accustomed to working together.’ There are tiring tours, more about Beethoven
and Opus 132, arguments over their interpretation of Op.132 and humour that overcomes
the stress. Dusinberre talks humorously
of the occasion they had a heckler as well as arriving at interpretative
solutions. A 2014 concert at Harris Hall
just north-west of Aspen, Colorado brings back memories for Dusinberre of his own
time at Aspen twenty-four years previously and even a little history of Aspen.
Finally in 6 Alternative
Endings: Opus 130 Edward Dusinberre ruminates
at length on the difficulties of the Grosse Fuge and the history of Op.130. He
covers problems at the Pittsburgh Chamber Music Society concert when playing
Beethoven’s new ending to Op.130 rather than Grosse Fuge, performance
discussions and decisions for further concerts including Wigmore Hall, concluding
with how he often recalls the early days of the Takács Quartet saying ‘I
imagine them on a small field at the side of the Autobahn – four Hungarian men
in their early twenties, revelling in the chance to stretch their legs after
many hours’ driving…’
This is a wonderful and revealing account of the life of a
great Quartet combined with insights into Beethoven and his quartets. What shines through above all is the
commitment and continued striving by the individual members of the Takács
Quartet to bring interpretations of the highest order.
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