The Kronos Quartet, America’s most renowned string quartet, recognised for their various collaborative ventures and promotion of modern music, are marking their 50th anniversary with a tour named “Five Decades.” This celebratory journey began in Bogotá, Colombia, the previous September and will conclude at Illinois’ Ravinia Festival in June. The next performance is set to take place in Dublin at the National Concert Hall, sandwiched in between their Toronto and Hamburg shows, each delivering distinct line-ups.
Given the milestone year, the ensemble speaks about their aspirations and experiences in regards to concerts, musical line-ups, venues, rehearsals, and cherished elements of their repertoire. When questioned about the “perfect” concert, the quartet’s head and artistic director, David Harrington, counters my suggestion with John Cage’s renowned silent composition, 4′33″.
Whilst resisting the notion of a perfect line-up, he puts forth a robust endorsement. Instead, he suggests we glance over the anticipated programme for the Dublin concert. He excitedly discusses the plan to commence with a powerful opening using Jlin’s composition. He revels in the belief that every cellist attending would surely lust after their own bass drum after hearing the Kronos Quartet and cellist Paul Wiancko perform Jlin’s Little Black Book.
After the dynamic start, they plan to transition into the compositions of Terry Riley, specifically Lunch in Chinatown taken from Riley’s work, This Assortment of Atoms – One Time Only! This will be performed whilst they order and enjoy a meal. Harrington elaborates further to explain their plans to introduce pieces by Peni Candra Rini, citing her music as one-of-a-kind in the realm of string quartet composition and praising her accomplished contribution to music. He also credits her as an exceptional vocalist.
We’re set to present Sun Ra’s music, interpreted by Terry Riley, Sara Miyamoto and Paul Wiancko, titled Kiss Yo’ Ass Goodbye. This will be followed by Nicole Lizée’s piece, ZonelyHearts. Recounting a previous radio interview, we were introduced to Nicole Lizée’s work, a recommendation which was deeply appreciated. I am thrilled to introduce two skilled musicians who have joined our company, having been admirers of our work for a long time, says Hank Dutt, a departing member of Kronos.
Our aim is to guide our listeners through diverse soundscapes, emotions, and textures, with special performances from Laurie Anderson and Sigur Rós concluding with Different Trains by Steve Reich.
Paul Wiancko, the newest addition to our ensemble, hails from the generation that followed in the wake of Kronos Quartet’s music. His induction, he describes, was like stepping into a dream he never believed he had permission to dream. It’s fulfilling and a privilege to be part of Kronos Quartet, a group he grew up listening to and appreciating.
Paul had previously made significant contributions as a composer to the Kronos Learning Repertoire project, a project that commissioned 50 works, all of which were made freely available to the public. This initiative managed to get more than 20,000 downloads across 98 countries. Additionally, he had filled in for Sunny Yang during her maternity leave. This made his formal induction feel even more like a homecoming in the truest sense.
It seems like he is perpetually impressed and amazed. In his view, each programme produced by Kronos is impeccable. As an audience member, he finds all he seeks in a Kronos show. Every tune, composition, creative collaboration holds value and meaning. The significance of each element is either connected to the message it conveys or the musical journey of its composer. Nothing is irrelevant or squandered in a Kronos concert. He believes there isn’t any room for frivolous or trivial performances and deeply appreciates how every component is both beautiful and thrilling. Most vital, in his opinion, is the intrinsic message conveyed by the music. Hence, he deems every concert to be flawless.
John Sherba, the quartet’s second violinist, and the viola player, Hank Dutt, have a more tempered approach in their views. Both are leaving at the close of the season. Sherba is forthcoming about his decision, affirming his faith in his successors – Gabriela Díaz and Ayane Kozasa. He regards them as highly talented musicians and players. He expresses his happiness and contentment, convinced the quartet remains in capable hands. Watching from a distance, Sherba looks forward to the continuation of the ensemble.
When justifying his decision, he explains that he desired a simpler life. He aimed for more family time, fewer travel-related inconveniences for his ageing body, and an eased schedule. With supreme assurance about his future, Sherba reveals his life philosophy. His affinity for the violin began at four, hinting his inquisitive nature from a young age. Grateful for his curious disposition, he carries this aspect of his personality into his mature years.
“Dutt expresses his mixed feelings about his decision, stating he cherishes Kronos, its mission, playing and performing. However, the strain of travelling has become a bit too much, especially at his age. Despite this, the 50th season offers a fantastic opportunity to perform at incredible venues and meet old friends, even though it also signifies his goodbye to these audiences. He’s also pleased to welcome two skilled newcomers to the band who, having grown up listening to their music, could easily outperform them.
He recalls the departure of Joan Jeanrenaud, the group’s cellist from 1978 to 1999. Having been together for 20 years, they had a great bond, which made changing that dynamic particularly challenging for him. While auditions were conducted, no one could quite match Joan’s unique qualities. Yet, he admits that he learned a great deal from each cellist that subsequently joined the band as they brought something new.
Harrington, on the other hand, emphasises that neither Hank’s nor John’s dedication over 46 and 45 years respectively, can be replaced. Instead, the group’s focus should be on adapting and evolving, which is exactly what Harrington hopes for Kronos.
Sherba then sees the subject of the ‘ideal concert’ through the lens of the audience. Numerous elements may draw him to a performance, whether it’s the composer, the performer’s technique, or even the nature of the Instrument. What makes a concert perfect is ever-changing, highly personal and influenced by an individual’s unique experiences.”
As a performer, the dynamics of each stage presentation differ. If I nail a particularly complex rhythm, in those moments, everything feels in sync and I’m thrilled. Of course, there may be slight issues with the rest of the pieces, but successfully delivering the challenging rhythm makes me exuberantly cheerful. It’s a result of my rigorous practice and heeding to the advice from others. When it’s a successful performance, my joy knows no bounds walking off the stage, though it may not exactly constitute the perfect concert.”
A masterful performance, from my perspective, is something that transpires rather frequently. It is when we’re all fit, immersed in communication and mentally aligned – according to Paul Wiancko.
Dutt articulates his thoughts, “I find personal gratification when we put in the hard yards during practice to seamlessly and efficiently interpret a music piece. When this piece is performed on stage, the focused determination and group ambition to emulate the rehearsed version while uplifting our individual performances is indeed electrifying. This provides a profound sense of satisfaction.
“There is something exhilarating when the performance gives rise to spontaneity and we all harmonise with it. This may not be a consistent feature, but when it does occur, it is highly stimulating. Playing chamber music allows me to draw inspirations from my colleagues. It’s akin to playing tennis with a superior player that pushes you to reach unprecedented standards. This is what I find truly commendable about a quartet; its potential to raise the bar for all.”
Adding onto the discussion, Wiancko suggests, “To me, the perfect performance is something that is not uncommon. It transpires when we’re all in good health, open communication and mentally in sync. It enables us to relay emotions that need to be conveyed and depict the composer’s ideas as they desired. The very structure of it is already perfect in its own way.”
Harrington assumes control. Thoughts of the quintessential, not necessarily tethered to a live performance involving him, but more to do with explorations of melody, are occupying his mind. His desire is targeted at those experiences which create a thirst for more life, more melody. They challenge him to make braver, audacious strides towards the future. His fortunate existence thus far has led him to encounter such music and such personalities, the creators of these inspiring experiences. Moreover, these experiences lead to an urge to involve that composer in the work that he’s set to complete now and in future times.
When questioned about whether it’s perfect, Harrington clearly negates that idea. Nevertheless, he has come across music notes which he perceives as utterly enchanting. Narrating one such instance he remembers from this morning, he recalls listening to Fritz Kreisler’s Humoresque rendition recorded on the Edison cylinder, believed to be from 1906. That initial note, the technique of playing it, represented the pure essence of the violin. This musical notation swept him off his feet and from the moment he first heard it, his aspiration has been to replicate that note.