Superconductor takes on A Late Quartet
by Paul J. Pelkonen
It's all Haydn's fault.
Ever since that composer came up with the idea of writing sonata forms for the combination of two violins, viola and violoncello, the string quartet has been one of the most intimate forms of musical expression. Composers have used this format to express their innermost thoughts, delving to depths of misery and despair (Shostakovich) or expressing cosmic truths (Beethoven) through this unique combination of instruments.
A Late Quartet, the new film by Yaron Zilberman explores not just the music but the complex personal intertwinings of the four members of the (fictional) Fugue String Quartet. They are New Yorkers who find themselves thrust into chaos when their cellist, Peter Mitchell (Christopher Walken) develops Parkinson's disease. With retirement looming, he decides to end his concert career with Beethoven's difficult Op. 131, a seven-movement marathon that must be played attacca--without pauses between movements.
The screenplay (by Mr. Zilberman with Seth Grossman) takes pains to explain that the cello's role is to support the other instruments as it moves through the musical depths of a piece. And Mr. Walken's character provides that support--serving as a surrogate father figure to Juliette Gelbart, the group's violist (Catherine Keener) , and paterfamilias to the whole ensemble and their inner circle.
by Paul J. Pelkonen
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| The Fugue String Quartet (l.r.) Mark Ivanir, Philip Seymour Hoffman, Catherine Keener, Christopher Walken. Image © 2012 RKO Pictures. |
Ever since that composer came up with the idea of writing sonata forms for the combination of two violins, viola and violoncello, the string quartet has been one of the most intimate forms of musical expression. Composers have used this format to express their innermost thoughts, delving to depths of misery and despair (Shostakovich) or expressing cosmic truths (Beethoven) through this unique combination of instruments.
A Late Quartet, the new film by Yaron Zilberman explores not just the music but the complex personal intertwinings of the four members of the (fictional) Fugue String Quartet. They are New Yorkers who find themselves thrust into chaos when their cellist, Peter Mitchell (Christopher Walken) develops Parkinson's disease. With retirement looming, he decides to end his concert career with Beethoven's difficult Op. 131, a seven-movement marathon that must be played attacca--without pauses between movements.
The screenplay (by Mr. Zilberman with Seth Grossman) takes pains to explain that the cello's role is to support the other instruments as it moves through the musical depths of a piece. And Mr. Walken's character provides that support--serving as a surrogate father figure to Juliette Gelbart, the group's violist (Catherine Keener) , and paterfamilias to the whole ensemble and their inner circle.
