Recently, I’ve discovered the uniqueness and competitiveness quietly defining the string quartet world. True of any marketable item, the “string quartet” needs an attractive label with a reliable, trusting product inside - well-distributed and balanced ensemble tone, effective communication between players, and the maturity that grows out of the quartet’s duration of time together as an ensemble. Although one of the oldest forms of chamber music - dating back to the Baroque era, today it must accommodate to the growing demands of modernity. No longer can it be just a “string quartet” - only playing and performing the favorites of the quartet repertoire. Rather, it must instill a sense of “identity” setting it apart from others, and since I’m a violinist, I’ve taken keen interest in this subject.
After attending a performance of Gloria Cheng with the Calder Quartet, I began to notice this trend. I thought, “Wow, how incredibly even their sound is, and yet, each player seems to be distinctively his own.” No member could over-power the other, and I was impressed by this as well as their careful, collected, and timed bow placement and speed. “A real quartet,” I thought. With this observation in mind and upon learning their collaboration with artists such as the Airborne Toxic Event, Andrew W.K. and Iva Bittova, I was convinced why they are so successful - not only is the Calder a well-polished ensemble (their “reliable and trusting” nature) - but they have something uniquely identifying them.
At the Chamber Music America conference, I heard young string quartets comprised of recently graduated Conservatory musicians and the actualizations I came to after hearing the Calder were further established. These young musicians only wanted to be “string quartets” rather than developing a sonic existence of their own - an honest but temporary pursuit which will not last long especially in today’s hands.
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