February 16, 2009
Tokyo String Quartet Paper
I arrived at Campbell Hall early, 45 minutes early to be exact.
Although I am typically a
very punctual person, I decided to leave extra leeway as a result of my nightmare the night
before in which I arrived 2 minutes late, but was not allowed in the doors because of my
My fears of not being admitted were quickly washed away as I was jollily greeted by
an usher who kindly showed me to my seat. My seat’s location, however, was jammed on the left
hand side of the theater, near the top.
I waited patiently for the music to commence and watched
hundreds of people walk to their seats and was rather surprised at the diverse and eclectic group
of people who had come to watch the Tokyo String Quartet.
Not only were there students from
Music 15, but also elderly couples, families with children, and I even saw my former economics
The musicians finally walked across the stage and took their seats as they were greeted
with a large applause from the audience.
At first, it was if the magnitude of the stage had
transformed the four musicians into little specks.
However, as the lead violinist lifted his bow
and the sounds gushed out of his instrument, these specks instantaneously became monstrous in
Although I was 30 rows away from the performers, an overwhelming sense of musical
intimacy engulfed me, making me feel as if they were performing only for me.
The first piece
the Tokyo String Quartet performed was Haydn’s
String Quartet in D Major, op. 76, no. 5
Although considered the father of the string quartet, Haydn shies away the traditional four-
movement form, creating an amalgamation of sorts by utilizing a variety of musical forms.
example, in the first movement, Haydn implements a form of theme and variation while still
incorporating the general aspects of the
In the performance, the lead