Welcome to our interview series with musicians from the classical music scene! Today we have the pleasure of presenting the violinist Edvard Erdal. He works as leader and violinist in the string quartet Opus13, which recently came out on top in two of the world’s most prestigious chamber music competitions. Here he shares his thoughts on classical music and quartet playing in particular, for both new and experienced concertgoers!
Name and instrument?
Edvard Erdal, violinist, leader of Kristiandsand symfoniorkester and violinist in the string quartet Opus13.
What has Opus13 been up to lately?
For the past few months we have been completely focused on taking part in two competitions, which has demanded a lot of time for repertoire preparation and polishing. Now the festival season is approaching, and in two weeks we start a hectic summer of concerts in Norway, the USA, Finland, Switzerland and Italy.
For people who are not so used to classical music – how would you describe playing in a string quartet?
The string quartet is the perfect balance between the individual and the collective. The combination of instruments can create perfect homogeneity while you still have four distinct individuals. It is also a line-up that many of the great composers wrote a great deal of important music for – some of the greatest masterpieces are found precisely in the quartet repertoire.
Tell us a little about how the quartet came about.
We were four Norwegian students who met at Barratt Due. Over time we have taken on a more Swedish character – Daniel joined seven years ago, and Albin joined a year and a half ago. We knew each other well from before – it is a small scene!
What is the best thing about playing in a string quartet?
The best thing is probably the ensemble playing – the feeling of creating something magical together, while each individual has a strong sense of ownership. The repertoire is fantastic, and we have great freedom to shape the music exactly the way we want.
And what is the most demanding thing?
Playing in tune, haha! But seriously – it is demanding to find the right balance between personal expression and a shared sound. You are constantly working to achieve homogeneity without losing individuality. It requires extremely precise ensemble playing and the ability to read each other in real time, while still keeping the spontaneity.
Who has been important for the quartet’s development in recent years?
Bjørg Lewis and Berit Cardas have been absolutely invaluable – they have followed us closely, especially in the preparations for the competitions, both before and during. They have been very important to us both musically and for keeping the right focus.
Are there any highlights you would like to point out so far?
The Bordeaux and Wigmore competitions are of course big highlights. But perhaps most of all our debut at Wigmore Hall in the semi-final, where we played Schubert’s Death and the Maiden. It was special to get to play such a monumental work in one of the world’s best concert halls.
What is it like to take part in a chamber music competition?
It is a very intense process – you feel as if you are working with “a knife to your throat”, and it is rather unnatural to have to play for a jury. But it also makes you extremely aware of everything you do and everything you want to convey. You have to learn a lot of repertoire to be played in a short time and perform under great pressure. At the same time it is very unifying for the quartet, and it is also an arena for networking, with both important jury members and audience members.
What happens next for you now?
We have a very busy summer ahead of us, and we also get many concert appearances through the competitions. Next season has already begun to fill up. Some highlights include our debut at Eszterházy Palace, where Haydn wrote his first quartets, and our first tour of Japan. There will be many debuts and many new places we are looking forward to visiting.
What is it like to live as a quartet musician? Is it possible to make a living from it?
It is great fun, but also demanding. You fall a bit between the soloist business and the orchestra market, both of which are more heavily subsidised. To make a living from it you almost have to have the whole world as your market – it is common for one to two years to pass before you play in the same place again. Many combine it with teaching or orchestral playing.
What was it like to take part in a competition right after winning another?
It was definitely an extra stress factor. We felt some extra expectations and pressure, and some of our supporters were a bit unsure whether it was a good idea. But Berit and Bjørg in particular encouraged us to dare to be brave and be ourselves. We are here to play, after all – and it is important to dare to fail! We want to reach as many people as possible.
Is there any quartet music you would recommend for new listeners?
There is an endless amount of good quartet repertoire. But a good place to start is the Mozart quartets, the Beethoven quartets – and of course Death and the Maiden, which is a hit. And not least Mendelssohn’s Op. 13! 😉
Concerts in Norway coming up?
The next stop is Valdres Sommersymfoni – you can hear us there. Later in the summer we also play at Hardanger Musikkfest and the Rosendal festival.
