BY CELINE CHONG, LEAD WRITER (QLD)
Update 8 July 2019: Tinalley will give its first performance at Music in the Hunter from 20-22 September.
As far as string quartet star power goes, we need look no further than the Tinalley String Quartet, now in its 15th year of stellar music-making.
Comprising four of Australia’s most respected performers and teachers — Adam Chalabi (violin), Lerida Delbridge (violin), Justin Williams (viola), and Patrick Murphy (cello) — the quartet has cemented itself as one of Australia’s finest ensembles, and has appeared in venues across Australia, Europe, the United States, and Canada.
Tinalley’s newest release is a love affair with the music of Felix Mendelssohn, featuring the first and second string quartets, and well as various lieder in collaboration with esteemed soprano Greta Bradman.
We chat with each member of Tinalley about life, chamber music — and its new CD, of course!
Hi, Tinalley! Lerida and Justin, you both hold leading positions with the Sydney Symphony Orchestra. Similarly, Adam and Patrick, you are both lecturers at the University of Queensland’s School of Music (where I have the pleasure of bumping into you in and around my classes!). Why have you chosen to prioritise playing chamber music together, on top of your very busy schedules?
ADAM: The simple answer to that is that we love it. Quartet playing represents for us the ideal and most satisfying medium for music-making. It is a meeting of four minds and four playing styles that — when rehearsed effectively — are moulded into a dynamic, homogenous, and vastly expressive whole. The processes undertaken in rehearsals to achieve this are endlessly fascinating and painstaking.
Your new CD includes the first two Mendelssohn string quartets, and some lieder with Greta Bradman. What is it about Mendelssohn’s music that you wanted to explore through this record? And why him in particular?
JUSTIN: Mendelssohn has always held a special place in our hearts. He writes with such exuberance and fervour that, for us, is exciting to perform and to share with our audience. His adventurous spirit shines though in his music — his fascination with past forms and styles from the Renaissance, Baroque and Classical periods, with particular interest in the works of Bach, Mozart and Beethoven, are ever present, but always treated in an entirely progressive way.
He is at his core, a romantic; and a lyricist, at that. The beauty of the human voice and song is never far from his mind, and this is particularly evident in his Opus 12 and 13 quartets.
It’s definitely not every day that a string quartet CD includes lieder. Why did you decide to include Greta and these songs on the album? What was your collaboration like?
A: As string players, we are seeking so often to emulate the qualities of the human voice that it seemed to us logical to partner the quartets with these new arrangements of lieder.
Greta was the obvious singer for us to partner with, as we are huge admirers of the humanity, versatility, and depth of expression that her voice displays and produces.
What is more, she is a joy to work with; a flexible and down-to-earth chamber music partner who brings insight and pragmatism into the rehearsal and performance process.
Any chamber music student will know that rehearsal technique is paramount! How do you, as an ensemble, tackle the challenges you face in rehearsal? Were there any challenges that were unique to this recording process?
LERIDA: One of the toughest challenges I think any ensemble faces in a chamber group is that of communication. Everyone will feel strongly about different aspects of interpretation, and communicating your ideas effectively; whilst being open to others ideas is paramount. Many a quartet fight has begun by two people arguing the same side of the same point in two different ways!
Tinalley’s approach is that we play, rather than discuss. That way, you are constantly responding to each other’s ideas in the moment, and navigating your way through each musical idea and phrase as you play together. Then, if it becomes clear that you are operating on different wavelengths, you can work your way through the issue at hand with a combination of playing and discussion. But we feel that too much discussion kills the creative process and ultimately, in performance, we want to be in a position where we can mould a phrase in a completely different way every time we play it, and everyone will respond accordingly.
Obviously, it takes years of rehearsal to get to that stage, but it makes the rehearsal process very efficient and keeps performances fresh and spontaneous.
The recording process is difficult, as you put a different type of pressure on yourselves than before a live audience. Suddenly, you listen back in the booth and you want it to be ‘perfect’ and realise that, often, it isn’t! Then you have to walk the fine line between ‘perfect’ ensemble and intonation, and keeping the magic of a live performance.
Knowing the pieces intimately and having performed them many times together definitely helps once you are in the studio; and also, have a great producer who knows when to push you as an ensemble and individual, and when to pull back and let the music happen.
We are fortunate that Stephen Snelleman, who has produced our previous to albums and will produce our next two CDs is, in our opinion, the perfect producer!
The string quartet is one of the most established chamber music ensemble configurations. What do you hope to bring to this age-old genre? How does this then influence your “sound” as a quartet?
PATRICK: It is true there is much to live up to in the history of string quartet playing, but we don’t think too much about comparisons with other quartets — that would be too daunting! We simply strive to make the music always speak: we search for shape in every phrase, colour in every texture, and character in every note. We search for both seamless unity and intriguing contrast. We aim to be free from the predictable: not to be shocking for the sake of it, but to be unencumbered by the conventional, so that a piece can really reveal itself anew.
And this work never ceases: even after decades of performance, there are so many new things to be found in a great work. So 100 per cent of our rehearsal is about sound in one way or another — it’s all just words if it can’t be shown through sound.
Finally, what are your top pieces of advice for emerging young musicians?
J: Respect!
Have respect for time. There isn’t a lot of it!
Have respect for the advice and instruction given. We never stop learning.
Respect the score!
Honour and respect the privilege of playing music. It is a gift, to be sure — one that requires extremely hard work, dedication, perseverance, patience, and honesty.
L: Dream big. The sky is the limit, and anything is possible — if you are prepared to work hard!
Every successful musician I know has put themselves out there. Don’t wait for it to fall into your lap — it won’t!
Seek advice and listen to your peers and, more importantly, mentors. Learn from their words of wisdom — and their mistakes!
A: Above all, work hard. You will never have the luxury of time that you have during your studies.
Learn the art of good practice early. A wise man once told me if you want to break down a wall, don’t bash your head against it! Figure out a way to dismantle it, and continue calmly (and unscathed) on your journey. Learn from your mistakes, but don’t let them govern you.
P: Initiate. Get up and play chamber music — don’t wait to be asked! Form ensembles, put on concerts, learn challenging repertoire, enter competitions! Most of all, be sure to enjoy it and share that with your colleagues.
Music, as with life, is about working with people — make sure it sparks joy!
Visit the Tinalley String Quartet’s website to keep up to date on its releases and performances.
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