Picture yourself on a small island where, for an entire week, you are surrounded by some of the world's finest classical musicians. From 9:30 in the morning until bedtime, these musicians play non-stop, treating an audience of over 13,500 people to the enchanting melodies of string quartets.
It may sound like paradise or perhaps the backdrop for a dystopian arthouse film, a unique twist on "Lord of the Flies" with classical music enthusiasts instead of schoolboys. But this place is real. Located just minutes away from Amsterdam Centraal, the glass-walled and ultra-modern Muziekgebouw stands at one end of an artificial dock in the bustling harbor of the city. Surrounded by water on three sides and accessible only via sleek metal bridges, this is the home of the String Quartet Biennale Amsterdam, the largest string quartet festival in the world.
Now, you may wonder, how big is this festival? Well, compared to other quartet festivals, such as Banff and Heidelberg, which last only three days, or the Paris String Quartet Biennial, which stretches for nine days but includes only two concerts per day, SQBA means serious business. With five concerts daily for eight days, ranging from early morning performances of Haydn to late-night renditions of Beethoven, along with free talks, masterclasses, and foyer performances by student quartets from the Amsterdam conservatoire, this year's program featured 25 professional quartets from around the globe. Renowned names like the Danish String Quartet, Belcea Quartet, Doric Quartet, and Jerusalem Quartet mingled with emerging talents fresh from competition victories. The grand finale showcased two quartets simultaneously performing Enescu's Octet Op 7, prompting one musician to jest, "What's better than one string quartet? Two string quartets!" to the delight of the audience.
But that's not all. Throughout the day, a stylishly dressed Dutch vinyl collector named Jean Paul assumes the role of an in-house DJ, stationed in his cozy nook on an upper level. From his collection of over 4,000 LPs, he curates a playlist exclusively featuring string quartets, adding a unique touch to the festival atmosphere. Like-minded purists revel in the opportunity to immerse themselves in all six Bartók quartets during a single afternoon. The festival also showcases the beloved classics like Schubert, Mendelssohn, Haydn, Britten, and, of course, plenty of Beethoven. Collaborations and new music take center stage as well, with morning performances combining Haydn with edgier compositions from Wolfgang Rihm and Thomas Larcher, creating a musical equivalent of the Wim Hof method. Standing ovations, a customary occurrence in the Netherlands, were also a part of the experience, although occasionally they felt lukewarm. There were memorable moments, including the Tetzlaff Quartet's exhilarating interpretation of Mendelssohn and the Australian String Quartet's world premiere performance of Nyilamum by Paul Stanhope, featuring Indigenous Australian singer Lou Bennett, which was captivating and atmospheric despite the language barrier. Not to mention an unexpectedly moving performance by two young quartets accompanied by a choir of visually impaired amateur singers.
After just 48 hours of intense quartet immersion, I sympathized with a glassy-eyed man I encountered one morning, who murmured desperately, "coffee..." It's no wonder there were jars of complimentary biscuits available at each bar. Sometimes, even the power of four needs a little boost.
During this time, the outside world beyond the realm of string quartets seemed to fade away. As I briefly ventured outside the confines of the Muziekgebouw, passing a husky dog pulling a man on a skateboard, I started to question whether one can have too much of a good thing.
After all, almost 40 concerts within a single week is quite an undertaking, with several works being performed more than once. One Dutch attendee I spoke to saw this repetition as part of the festival's charm. He likened the performances of Haydn to different types of wine, with young quartets playing it akin to a grüner veltliner, while the Australian String Quartet presented it as a full-bodied bordeaux. Had he attended every single performance? "Oh yes!" he exclaimed. Although I hesitated to mention that a week-long marathon of wine tasting might be a bit excessive, he confided, "Many people ask, can you consume so much? And I don't know, but there's a special atmosphere when you listen to it all."
Yasmin Hilberdink, the founder and director of the biennale, emphasizes a similar sentiment. Reflecting on the program's evolution since its inception in 2018, she shares that the first edition featured exactly 100 works (this year, I counted 113 in the official concerts). Although this numerical coincidence initially puzzled her, it turned out to bea happy accident. Hilberdink explains that the festival's format allows for deep exploration and immersion in the world of string quartets. By repeating certain works across different performances and showcasing a wide range of repertoire, the festival creates a unique opportunity for both musicians and audiences to delve into the intricacies and nuances of these compositions.
As the week comes to a close, the island of string quartets gradually recedes, and the outside world comes back into focus. Stepping out of the Muziekgebouw, I find myself surrounded by the vibrant streets of Amsterdam once again. The sounds of trams, bicycles, and lively conversations fill the air, replacing the melodies of the quartets that had become the soundtrack of my week.
Reflecting on the experience, I realize that the String Quartet Biennale Amsterdam is more than just a festival; it is a celebration of the power of chamber music. It brings together musicians, enthusiasts, and curious minds from around the world, fostering an environment where the beauty and complexity of string quartets can be appreciated, explored, and shared.
As I leave the island behind, I carry with me the memories of countless moments of musical brilliance, the camaraderie among musicians and audiences alike, and a renewed appreciation for the transformative power of classical music. The String Quartet Biennale Amsterdam has left its mark, reminding me of the profound impact that music can have on our lives.