The Auckland Philharmonia’s ever-popular In Your Neighbourhood series — proudly supported by Davis Funeral Care — brings music out of the city and into Auckland’s suburbs and communities.
Chamber music has a way of revealing the inner life of music. Without the distance of a large stage or the formality of a full orchestra, the experience becomes more personal and more immediate. The Auckland Philharmonia’s latest In Your Neighbourhood concert embraced that closeness with a programme that was varied, ambitious, and performed with real commitment. It also turned out to be longer than expected. The advertised one hour stretched to a full ninety minutes. Even so, the audience remained engaged, helped by the warmth of the setting and the quality of the playing.
St Lukes Presbyterian Church was an ideal venue for this kind of event. The wooden pews, soft lighting, and natural acoustic created a welcoming atmosphere. The concert was completely sold out. Even those who arrived half an hour early found the pews already filling with eager listeners. There was a clear sense of anticipation in the room. People were ready to be immersed.
The quartet featured Principal Cello Ashley Brown alongside violinists Andrew Beer and Minglun Liu, and violist Robert Ashworth. They opened with Beethoven’s String Quartet No. 8. This is a work that demands emotional range and a willingness to move quickly between contrasting moods. The first movement carried a restless energy that felt almost volatile at times. The players handled these shifts with impressive clarity. The music seemed to pull between tension and warmth, and the quartet leaned into that contrast with confidence.
The slow movement that followed was the emotional centre of the Beethoven. Beethoven once described it as evoking the starry sky and the music of the spheres. The quartet captured that sense of suspended stillness with remarkable sensitivity. The sound floated gently through the church, each phrase shaped with care. It was a moment of quiet beauty that held the audience completely.
The third movement offered a brief change of pace. It had a dance like quality that brought a lighter mood into the room. The musicians exchanged quick glances and small smiles as they navigated its rhythmic twists. This sense of communication is one of the joys of chamber music. It was clear that the players were listening to one another as much as they were playing. The finale brought the Beethoven to a bright and energetic close. It was fast, technically demanding, and delivered with precision.
The programme then shifted into far stranger territory with Abhisheka by New Zealand composer John Psathas. If Beethoven was all structure and emotional argument, Psathas felt like stepping into a psychological labyrinth. The piece opened with soft, pulsing chords that suggested the echo of a cavernous space, but instead of serenity it created a creeping sense of unease. The subtle reverb, which in other contexts might feel meditative, took on a ghostly quality. Each solo line emerged like a voice calling from somewhere you could not quite place. The unusual pitch inflections only heightened the tension. At times the music felt like the soundtrack to a slow burning horror film, the kind where nothing jumps out but everything feels slightly wrong. It was disconcerting in a deliberate and fascinating way. The audience sat in complete stillness, not soothed but held in a kind of suspended alertness. When the piece finally rose to its intense climax before settling again into quiet, it felt less like a release and more like the final breath of something uncanny.
After the unsettling world of Psathas, Ravel’s String Quartet brought a welcome burst of colour and movement. The first movement opened with a lyrical theme that immediately shifted the atmosphere. It had a youthful exuberance that made it a highlight of the evening. The plucked passages were especially charming and brought a playful sparkle to the sound.
The second movement was full of rhythmic vitality. The quick exchanges between instruments created a sense of lively conversation. The quartet handled the intricate patterns with ease. The third movement slowed the pace again. It was dreamy and nostalgic, with the viola taking on a particularly expressive role. The finale returned to a more fiery energy. It was restless and bright, with shimmering textures that tied the whole work together. By the end, the audience was fully captivated.
One of the most enjoyable aspects of the evening was watching the musicians themselves. In a full orchestra setting, players often appear restrained by the formality of the ensemble. Here, freed from that structure, they moved naturally with the music. They swayed, leaned, and breathed together. They shared quick glances and the occasional cheeky grin. It was a reminder that chamber music is built on collaboration and trust. The audience could see the enjoyment on stage, and that energy carried into the room.
When the final notes faded, the applause was immediate and enthusiastic. A few audience members rose to their feet in a brief standing ovation. The response felt genuine and warm. People had clearly enjoyed the journey through three very different musical worlds.
The only drawback was the length. The performance was advertised as one hour with no interval, but it extended to around ninety minutes. For some, this may have felt like a welcome abundance. For others, especially those seated on firm church pews, it may have felt a little long. Still, the richness of the programme made the extended duration understandable. Three substantial works, each with its own character and emotional landscape, created a full and satisfying evening.
In Your Neighbourhood: String Quartets succeeded in its aim. It brought exceptional musicians into a community space and offered an intimate experience that felt both personal and generous. The programme was varied, thoughtful, and performed with real artistry. Even with the extended runtime, the evening left the audience buzzing with appreciation. It was a reminder of how powerful chamber music can be when shared up close, without barriers, and with musicians who clearly love what they do.
Performances of In Your Neighbourhood String Quartets run from March 16-19 at St Lukes Church, Holy Trinity Church Devonport, and St Heliers Church & Community Centre.
For show information & tickets head to Auckland Arts Festival
For show information & tickets head to Auckland Arts Festival