Words by:
Francesca Hiew
Australian String Quartet (ASQ) violinist and ANAM alum
Francesca Hiew
credit to Jacqui Way
Metamorphosen, composed towards the end of World War II is one of Richard Strauss’ most revered works. Like looking through a kaleidoscope, its musical themes are transformed through shifting perspectives that in the end, seem deceptively unchanged. The Australian String Quartet (ASQ) joins ANAM musicians in October to explore this masterful work.
We commenced our first intensive rehearsal period as a newly formed collective in May, gifted with an anomaly: a week of rehearsals without a concert looming at the end of it. This unusual arrangement allowed us to work without the pressure of time, pulling the music apart to fully address ideas of tempi, dynamics, sound, balance and blend. What was important for the ASQ to impress upon our ANAM colleagues was that these rehearsals were for the purpose of shared discovery, rather than for us to simply direct a pre-formed interpretation. I was at ANAM from 2010-2012. When I was there, my wonderful teacher Bill Hennessy instilled in me an open and reciprocal approach to teaching and learning, as if one were no different from the other. This spirit of generosity and humility is something I think about often and endeavour to emulate.
We led rehearsals with discussion rather than directive because the why behind each decision benefits if met with a collective purpose. Although the ASQ were the most vocal of the group, we prefaced our suggestions by conceding that we didn’t have any of the answers. In our cellist, Michael’s words (always a moment to giggle for the Fawlty Towers fans), “I know nothing!”
ASQ and ANAM musicians rehearsing at the ANAM campus early in the year
The balance of the individual and the collective is what makes chamber music so complex, not just musically but also in its human interactions. While we insist that the collective is greater than the sum of its parts, we must not forget that it is the individuals who determine the success. This especially rings true in this unique setting for 23 solo strings, where the many individual lines work in groups often across the ensemble, weaving in and out of each other, revealing glimpses of the individual, but ultimately upholding the collective.
Labelled a “neurotic” by the Nazis, Richard Strauss existed in a political, social and artistic climate that challenged the individual’s place within the world to the utmost extreme. He would have understood that survival came from within, and this survival highlighted the importance and dependence on a profound understanding of one’s self.
Amongst the embryonic sketches of Metamorphosen, Strauss had jotted down a poem by Goethe: Niemand wird sich selber kennen (No one will know themself). In just 34 words, Goethe reveals the importance of separating oneself from their ego, in order to reveal “what one can do and what one may do.” Strauss had begun setting these inspiring words of resilience and wisdom on the very same pages as his work for 23 individual string players.
It is now September 2022, just beyond the halfway point between visits to ANAM. When we return in October, I imagine none of us will remember every detail of what we worked on, we’ll continue to pursue or challenge past musical decisions and we might even change our seating configuration for about the fifth time! Most importantly and above all, we’ll edge closer to knowing ourselves within our greater collective. This is our metamorphosis.
The Australian String Quartet is composed of Francesca Hiew (violin and ANAM alum), Dale Bartltrop (violin), Chris Cartlidge (viola and ANAM alum) and Michael Dahlenburg. They will perform with the ANAM musicians in Fallen Heroes on Fri 14 Oct at the Rosina Auditorium, Abbotsfor Convent.