Concert Report: Mivos Quartet The Mivos Quartet performed at the Conrad Prebys Concert Hall on the campus of UC San Diego on the evening of October 12, 2016. The four-membered string ensemble - consisting of Olivia de Prato and Lauren Cauley on the violin, Victor Lowrie on the viola, and Mariel Roberts on the cello - played three modern composition in a concert that lasted about one hour. The quartet opened their performance with a piece titled Serashi Fragments composed by Lei Liang in 2005. The piece began abruptly out of the silence of the small audience. The four musicians each played one short, but jarring note that was subsequently followed again by the silence of the audience. The music progressed quickly from then. They began following
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13 composed by György Kurtág in 1978. Similar to Serashi Fragments, the piece also seemed to have an ebbing musical flow. However, the movements in this piece felt more contained compared to the entrances and silences of sound in the previous one. The twelve movements that make up the composition were short and simplistic culminating in a ten minute performance. It seemed like he shared a similar perspective in composing this piece as Richard Wagner did in his composition of Tristan und Isolde. They both expressed complicated emotions through leitmotifs that were layered throughout their compositions. As such, it became important for the quartet to be able to express these short themes through their performance of the minimalistic piece. As difficult as that may be, I believe that were able to accomplish that. The quartet concluded their performance with the piece titled Spring Quartet No. 3 composed by Georg Friedrich Haas in 2001. The performance showed significance in the fact that it was performed in the dark. This made the overall experience more visceral - it heightened the sense of sound for everyone in the audience. Collectively, the piece was more similar to Serashi Fragments compared to Hommage à Mihàly Andràs. The true qualities behind pure intonation were the main focus of the
13 composed by György Kurtág in 1978. Similar to Serashi Fragments, the piece also seemed to have an ebbing musical flow. However, the movements in this piece felt more contained compared to the entrances and silences of sound in the previous one. The twelve movements that make up the composition were short and simplistic culminating in a ten minute performance. It seemed like he shared a similar perspective in composing this piece as Richard Wagner did in his composition of Tristan und Isolde. They both expressed complicated emotions through leitmotifs that were layered throughout their compositions. As such, it became important for the quartet to be able to express these short themes through their performance of the minimalistic piece. As difficult as that may be, I believe that were able to accomplish that. The quartet concluded their performance with the piece titled Spring Quartet No. 3 composed by Georg Friedrich Haas in 2001. The performance showed significance in the fact that it was performed in the dark. This made the overall experience more visceral - it heightened the sense of sound for everyone in the audience. Collectively, the piece was more similar to Serashi Fragments compared to Hommage à Mihàly Andràs. The true qualities behind pure intonation were the main focus of the