Amazing Haydn focused the last Sunday of October on the String Quartet, which Alfons De Leus described as the 'underdog' of musical genres. The highlight of the concert was 'Der Tod und das Mädchen'. And then we're at Schubert and not far from the hellhound Cerberus, who helped Hades guard the Underworld.
Martin Reining and Peter Baumgartner, first and second violin, violist Daniel Moser and cellist Thomas Wiesflecker, this ensemble has formed the current Atmos Quartett Wien for seven years. For their first concert here, they brought not one but two Haydns: Joseph and Michael.
Michael Haydn's String Quartet, Perger 120, new to most ears, did not have the impact of that of his six years older brother. Michael was an inexhaustible source of church music in the Salzburg of the archbishops von Schrattenbach and Colloredo. Themes aplenty in his String Quartet in g, but somewhat lacking in structure and flow. A pleasant surprise were the four variations in the final section.
Via a versatile work that singer, musical actor, dance pedagogue and composer Benedikt Berger gave the title 'Die 2 Jahreszeiten', it went to a masterpiece, the 'Kaiserquartett'. What Joseph Haydn intended as a gift for Emperor Frans II was also that for the listeners. And again it struck how well-oiled the interplay of Atmos was. So smooth that a hint of Viennese nonchalant charm was missing.
Chrysanthemums here and there in the solemn Jesuit church reminded one that the traditional commemoration of the dead was approaching. So 'Der Tod und das Mädchen' was the ideal closer. Here too the sober efficient approach and the excellent interplay stood out. Even those who still longed for the freshness of the Lupus Trio Salzburg, for the spontaneity of Vlad Weverbergh and his Terra Nova and for the exuberance of the duo Veverka-Englichova were impressed note by note by this convincing performance. Atmos won everyone over and received a well-deserved standing ovation. And the audience got a smooth, unexpected traditional.