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Show D4 The Salt Lake Tribune ENTERTAINMENT Tuesday, November18, 2003 Fiery Cavani String Quartet attacks Bartok composition plucked strings, tremolos, trills andslides represent the composer’s unique idea of creatures creeping and crawling in the night. A Bulgarian-style “Scherzo” in the third movement completes a musical arch formed by mirror images in the work’s surrounding movements. The quartet’s performance of this rhythmically sensuous dance featured odd combinations of beats creating an exotic, unbalancedlilt. The women burst into thefinal movement with flair and precision after Peckham By Ropert COLEMAN Special to The Tribune Bowsripped savagely across strings producing primal screams. Edgy harmonies ham mered the ear. This was not a scene from “Lord of the Flies,” but violinists Annie Fullard and Mari Sato, violist Kirsten Docter andcellist Merry Peckham prac ticing theircraft. The Cavani String Quartet, presented by The Chamber Mu sic Society of Salt Lake City, im mersed themselves and the audi ence in Béla Bartok’s visceral String Quartet No. 5. There was nothing tentative about this per formance:: The musicians '" charged forward with Bartok’s engagingoff-kilter rhythms and biting tonality. Bartok’s Fifth Quartet is structured symmetrically, con taining common thematic REVIEW momentarily stuck out her tongue as if to signal “here comesthe fun part.” Moreslides, this time passing from one to another, produced a whimsical, inebriated effect. In the midst of the rollicking conclusion, Sato suddenly started a Haydn-like melody. It didn’t last long, as the tune reeled back to 20th century tonality, demonstrating Bart6k’s wry sense of humor. The quartet made a stylistic transformation after intermis- naturally, with precise inflec- sion. The raw power and naked tion given to accents. The quar- aggression of BartOk was re- tet’s tonal blend and stylistic placed with refined lyricism as they performed Johannes Brahms’ String Quartet in C Minor, No. 1. The group lovingly embraced the music, caressing long phrases, propelled by richly textured harmonies. Measures flowed with an inevitability of purpose. The performance of the second movement, “Romanze,” was especially powerful. Music and musicians moved, breathed and sighed as one. The tempo flexed Quartet in D Major, No. 4 by Franz Josef Haydn. The quartet gave a good performance of this work, but as the evening progressed it became obvious this was just the warm-up act. The Cavani musicians proved their artistic credentials. Onstage, they were a formidable presence. Cavani String Quartet material in the first and fifth movements. The second and fourth movements use similar technical effects, each suggest- ing nocturnal sounds. 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