Piatti Quartet, Kendal Town Hall

I, TOGETHER with the usual large Kendal Midday Concert Club’s audience, was at the town hall for the final concert of what, as Mary Powney, the club’s chairman, described as having been a successful and enjoyable season. On stage for this concert was the Piatti Quartet, one of the most distinguished ensembles of its generation. We were all eagerly anticipating the occasion. When I - an old-fashioned old-timer with set views on how things should be - saw the young players coming into view, my spirits rose: they were in impeccable concert dress. As far as I was concerned, that gave them an immediate head start! They meant business, this was going to be a good concert.

And, indeed it was. Their attractive, well-constructed programme - Beethoven’s F minor Quartet, Op 95, Britten's Three Divertimenti for String Quartet and Mendelssohn’s F minor Quartet, Op 80 - enabled the players to shine, as a quartet and as individuals. Throughout, there was almost flawless ensemble work. There was energy, precision of attack, a tight sense of rhythm, perfection of tuning and a thorough understanding of the stylistic requirements of each composer. There was, for instance, a convincing contrast in the manner of which the modernity of Britten’s pieces was placed in direct opposition to the Classical, Romantic, logical order of Beethoven and Mendelssohn. Britten’s imaginative textures - spiky, pungent, angular, quite dissonant, highly original - demand virtuosity and they received it, marvellously so.

The overall darkness of Beethoven’s work was effectively portrayed; on display was superb technical dexterity, beautiful phrase structuring, close attention to differing dynamic levels and a most satisfying tonal blend. I would have liked, however, to have heard greater projection at the very top of the texture.

Mendelssohn's sorrow came through with equal impact. The composer's characteristic energy and sparkle were gloriously presented, the sad, lyrical passages beautifully shaped and - noticeably - the top line was more effectively projected. Overall, this was a heartfelt reading, one leaving us emotionally drained.

BRIAN PAYNES