.png)
IN PERFORMANCE: The Nonamé Quartet was first established in the summer of 2008 with violinists Arianna Warsaw-Fan and Ritchie Zah, violist Hari Bernstein, and cellist Meta Weiss. (Courtesy of Nonamé Quartet)
NEW YORK–For the same reason that fans prefer to watch March Madness’s college hoops rather than pro-basketball, a young group of musicians is always great fun to watch, especially when they've got game. And that natural energy, which is simply fresh, fierce, and tireless, describes the Nonamé Quartet, a group that is here to stay.
On Sunday afternoon, May 2, Fifth Avenue's Presbyterian Church celebrated Nonamé’s inaugural concert in its Kirkland Chapel. Located at 7 West 55th Street, the new Arts and Our Faith Committee, led by Mitchell Crawford, hopes that this and future concerts will open up appreciation for this "architectural gem enclosed within our historic edifice" at the Fifth Avenue Presbyterian Church, according to its press release.
The Nonamé Quartet was first established in the summer of 2008 with violinists Arianna Warsaw-Fan and Ritchie Zah, violist Hari Bernstein, and cellist Meta Weiss. Coming from Boston, Atlanta, New York City, and San Francisco, this foursome has collectively pursued undergraduate studies at the Bienen School of Music at Northwestern University, the Juilliard School, and the Shepherd School of Music at Rice University. They are all currently enrolled at the Juilliard School, receiving coaching from Samuel Rhodes, violist of the Juilliard String Quartet.
The Nonamé women have been close friends (and often have even been taken as sisters) since their days in high school and at the Kneisel Summer Music Festival, where they played together in various ensembles. Now, as a newly formed quartet with Ritchie Zah, they will enjoy that unspoken give and take which, over time, can help the listener trust and find their way through a particular piece in the repertoire, especially when a seasoned group has aged together.
Difficult Program Ably Performed
The opener for the concert at Kirkland Chapel was Felix Mendelssohn's “String Quartet in E-flat Major, Op.12.” Gifted and prolific, Mendelssohn was just a teenager when he wrote this particular string quartet, (1829), and it proved to be an effective choice for Nonamé to begin their first full concert together.
In fact, this piece was presented in Nonamé’s New York debut in the Fall of 2009 at Lincoln Center's Alice Tully Hall. First violinist Arianna-Warsaw Fan introduced this early work by Mendelssohn, mentioning that Mendelssohn and his sister would act out Shakespeare plays for fun, and one can hear the precursors to his ”Midsummer's Night Dream” themes which followed in pieces he composed the next year.
The audience was quickly engaged.
The “String Quartet in E-flat Major, Op.12,” (I. Adagio non troppo -- Allegro non tardante; II. Canzonetta; III. Andante espressivo; IV. Molto allegro e vivace), begins with a soulful choir of these four string instruments, a fitting sense of repose in a sacred place. One can hear the well-crafted contrapuntal writing even in this early work, as Mendelssohn gave each instrument a chance to shine. In fact, the Nonamé Quartet chose this piece, in part, because of its part writing.
Despite the fact that the Nonamé Quartet is composed of four soloists, they are also dedicated chamber musicians. As one of the concertmasters of the Juilliard Symphony, Arianna Warsaw-Fan, along with violist Hari Bernstein and cellist Meta Weiss, chose Ritchie Zah for their forth member because of "… his superb strength and ability to be versatile, as he doesn't mind playing 'second violin' and when necessary, plays as soloistic [sic] as anyone."
Yet in the Mendelssohn, this listener heard more violin than ensemble. This seems to be a challenge of the acoustics. The balance improved over the course of the movement, which shows that Nonamé adjusted to the space. The 200-seat Kirkland Chapel with its stone surfaces and high ceilings make it a most resonant room that musicians must consider as they deliver virtuosic passages with a big sound. Broader tempos can help the clarity.
The centerpiece for the afternoon's concert, one of the first mature works of Hugo Wolf, was his Italian Serenade, (1887). Nonamé kept the rope taut as they led us through this sophisticated ensemble playing with a confident sense of bravura and skill.
Written originally for string quartet and only later transcribed for orchestra, it was chosen by the Nonamé Quartet as an opportunity for everyone to shine. Each delivered this show piece with flair and style, so well suited to their musical personalities.
Cellist Meta Weiss was marvelous in her rich solo sound and impeccable playing, as she answered violinists Ritchie Zah and Arianna Warsaw-Fan, who tossed off the flirtatious phrases and chromatic cascades in this joyous ride. Violist Hari Bernstein's playing proves the appreciation of a strong violist who knows how to find color that supports and strengthens her quartet's performance. She introduced this piece to the audience and reminded them to listen for the Italian 'oboe-like' instrument that inspired this Italian Serenade.
The biggest piece of their first full concert as a quartet was Beethoven's “String Quartet in B-flat Major, Op. 18, No. 6” (I. Allegro con brio; II. Adagio ma non troppo; III. Scherzo: Allegro; IV. La Malinconia: Adagio -- Allegretto quasi Allegro). It also proved to be the most challenging, musically speaking.
The Nonamé Quartet had a good time with the first movement, Allegro 'con brio' (a favorite tag to Beethoven's Allegro first movements) and Arianna Warsaw-Fan opened the second movement, filling the chapel with her solo melody. The Scherzo (Allegro) Trio was a treat as the Nonamés built the intensity with the rhythmic precision so vital to this movement.
Beethoven marked his fourth movement with "Questo pezzo si deve trattare colla piu gran delicatezza," meaning this piece is to be played with the greatest delicacy. We all heard the lyrical resonance of the Adagio, that is, the first section, laden with melancholy; then comes the Allegretto quasi allegro where the trick is to dance the long line, preserving the triple lilt.
Here I wanted their Beethoven to breathe more from the belly. I'd love to hear the Nonamé Quartet dance it 'in one' and look out for the special speed of lightness, where less is more. I thought that could make this contrast wonderfully effective, as the early genius of Beethoven demands. No doubt the Nonamé Quartet will make this piece their own, as they have with the “Italian Serenade” as they gain depth of experience.
This well-matched quartet embarks on a most promising journey together.
THE QUARTET: (Top to Bottom) Ritchie Zah, Arianna Warsaw-Fan, Hari Bernstein, and Meta Weiss. (Photo by Arthur Moeller)
Chic, Smart, and Spirited
Unique to this young group is that their performance is in costume. The costumes, created by Elizabeth Caitlin Ward, captured the brilliance of their exuberant program and added a stunning aura.
The three young women were dressed in elegant black sheer net over turquoise/emerald green gowns. The male violinist wore a cape-like sheer net that cloaked his dark and sleeveless concert attire.
The Nonamé were recently featured at the Juilliard School's celebration of their new state-of-the-art Rosemary and Meredith Willson Theater, performing in a multimedia re-creation of Stockhausen's “Helikopter Quartet.” It was this “Beyond the Machine Festival” that inspired Nonamé's realization that they should have a visual component, for there they met the international designer Elizabeth Caitlin Ward.
Ms. Ward sets out to capture the performers' vision through her passion for design. She has garnered international praise for her work in film, television, opera, theater, and more.
The Nonamé Quartet plans to use this element of costume-performance-art as they continue to participate in the wide arena of music-making.
Dr. Julie Jordan in on the piano faculty of The Juilliard School Evening Division and on the piano faculty for the Summer Music Festival in Castelnuovo di Garfagnana, Italy. For more information, see www.juliejordan.us
