When the line-up for the 2024 Adam New Zealand International Chamber Music Festival was announced, the sharp intake of breath from fans was almost audible. Headlining the event, which takes place in Nelson from February 1-10, is the Takács Quartet.
Snaring one of the world’s most-lauded string quartets is a coup for the festival artistic directors, Gillian Ansell and Helene Pohl of the New Zealand String Quartet, who have secured the group for a week.
“A chance to work with the New Zealand String Quartet is wonderful,” says Takács first violin Edward Dusinberre. “For many years, I’ve admired their musicianship, the way they promote chamber music within New Zealand, and their commitment to outreach and New Zealand composers.”
It’s unusual for quartets to get together like this. “We’re all in our little bubble, and each bubble has its own eccentricities, so it’s refreshing to spend time with another group.”
The Takács burst into life in Hungary in the mid-1970s but the group has been based in the US since 1983.
“We have an unspoken connection to Budapest through [cellist and last remaining founder member] András [Fejér],” Dusinberre says.
Next season will be Fejér’s 50th with the group. Dusinberre, a Briton, has just the three decades under his belt. Any group that’s been around as long as Takács will inevitably have personnel changes, and Dusinberre thinks the group has evolved over the years.
Partly, he says, it’s that they now have better instruments, which allow for greater dynamic range and more clarity in individual lines. Less prosaically, Dusinberre points to the 2018 addition of second violinist Harumi Rhodes, which has led to a shift in repertoire.
“Harumi came with tremendous experience of commissioning [new works],” Dusinberre says. “Takács has always commissioned, but it’s like that was a strand and now it’s more present.”
In Nelson, alongside core works by Beethoven, Bartók and Haydn, the group will perform a commission from Nokuthula Ngwenyama. Playing new music has made Dusinberre reflect on how the group approaches the old faithfuls.
“With contemporary music, there’s a spirit of discovery and, at times, a sense of danger. That brings you back to the musicians who had to play Beethoven quartets for the first time, on very little rehearsal, while trying to grapple with this new musical language. To some extent it’s our job to recreate that sense of wonder. We should always be doing that when we play a great piece of music.”
Adam New Zealand International Chamber Music Festival, Nelson, February 1-10.
