A FIRST-class recital by the Bochmann Quartet concluded this very successful Worcester Concert Club season.

Britten's Quartet No. 1 in D, Op. 25 was given a riveting and thought-provoking interpretation. The Andante Sostenuto's stark opening of exposed, keenly-tuned high strings against the plucked cello was cold and haunting, becoming more robust suddenly, with jarring harmonies but incorporating fragments of extra melodious material. Allegretto con stancio encapsulated angry comments by the viola, with concentrated agitation from the other musicians, until the more harmonic but foreboding Andante calmo: this movement was prodigiously controlled.

Ushered in by the first violin (both ghastly and ghostly), the mood became more serene as the depth of warm cello tones were imitated and passed round all the instruments. The Molto vivace brought this painfully conceived work to a swift, and somewhat happier, end.

Juxtaposed were Mozart's Quartet in E flat major, K428 and Schubert's Quartet No. 15 in G major Op. 161.

In Mozart's tranquil Andante con moto, the main theme was first introduced in low registers, followed by dialogue between the second violin and viola - which was given ideal prominence.

The precision shown in the Minuetto; Trio, and again in Allegro vivace was punctilious - staccatos, rests, pauses, accents contrasts - showed perfect unanimity of thought by all the performers.

Schubert's quartet, constantly moving from major to minor, and imbued with exquisite melody, produced a poised and beautiful delivery.

The ravishing cello in the Andante un poco moto, and the unbridled song-like joy of the allegro assai, but two of the memorable instances.

JILL HOPKINS