The Borealis String Quartet Performs Out of Darkness, Into Light at SAC

Vancouver quartet invites the audience, immersed in darkness, to focus on the music

In the absence of light the imagination has ample room to run wild, especially with a theatrical soundtrack to keep it working. Out of Darkness, Into Light immersed its audience in pitch black on Nov. 21, with only the Borealis String Quartet to appeal to their senses with music.

During the first quarter of the concert, every light in the room was turned off. Each of the four instrumentalists sat in opposite corners of the room at the Surrey Arts Centre to play an eerie, spine-chilling piece reminiscent of an ambient horror soundtrack. Think Wendy Carlos’ The Shining score or Harry Manfredini’s Friday the 13th classic combined with the unnerving snaps and squeals from The Blair Witch Project.

The emcee of the evening steps onstage before the music starts to remind the audience that “the purpose of darkness is for us to be able to focus.” If any of the approximate 75 attendees begin to feel too uncomfortable, they are welcome to raise their hand or otherwise seek an exit, he says, before resuming his seat.

After our vision fades away, “In iij Noct.” by Georg Friedrich Haas fills the room. Sporadic knocking, screeching, and whirring sounds bounce off the walls from each of the four corners, creating the impression that a formidable creature is rapidly circling—or potentially hunting—you. The composition escalates and deescalates, coming to heart-pounding climaxes as often as it settles into plodding uncertainty.

The lights illuminate for “String Quartet No. 2 in A major, Op. 68” by Dmitri Shostakovich, which is still nerve-testing, but not nearly as intense. With the brightening of the hall comes the first chance of the evening to watch the quartet play, and they do so with vigour. Each player moves their body dramatically to the music, swinging their arms and heads according to pitch and tempo. Of course, they were also spot-on. There was not a single detectable mistake during their performances, at least to an untrained ear.

The two compositions played after the intermission were “vita Borealis” by Farshid Samandari and “Sunrise” by Joseph Haydn, each from radically different time periods. “Vita Borealis” was written by an Iranian composer currently living in Vancouver, whereas “Sunrise” was written by an Austrian composer of the Classical period who died over two centuries ago.

“Sunrise” was the most uplifting and melodic performance of the night, described by quartet violinist Yuel Yawney as having “a lightness of texture and a beauty of sound.” Arguably, hearing them play “Sunrise” was the only traditional aspect of the entire event, and it was a pleasant break from the tension of the other three compositions.

Violinists Patricia Shih and Yuel Yawney, Viola player Nikita Pogrebnoy, and Cellist Sungyong Lim are the members of the Borealis String Quartet, and together they have formed an internationally acclaimed reputation. Worldwide, they have become known for their stage presence, extraordinary musicianship, and intriguing selection of musical pieces.

Their hometown is Vancouver, where they were the quartet-in-residence for KPU and UBC, and they have played for the Prime Minister in Ottawa. The quartet has also received the Golden Melody Award in Asia and performed for the Dalai Lama, amongst a host of other achievements both at home and abroad.