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The affectionately named Goldners, Dene Olding (violin), Irina Morozova (viola), Dimity Hall (violin) and Julian Smiles (cello), commenced their musical lives in the early 1990s as members of the Australian Ensemble, the resident chamber group at the University of New South Wales. They played many concerts together before launching themselves as the Goldner String Quartet in 1995.
As Australia’s pre-eminent string quartet, they have toured nationally and internationally, appeared at major world festivals, made many prize-winning recordings and collaborated with musicians and composers across the globe. More than 30 years after they began their musical journey together, those same four musicians announced that 2024 would be their last as a quartet.
ArtsHub speaks to two members of the Quartet, Dimity Hall and Dene Olding, about working together for 30 years, what they have learned from the process and what is next.
Out on a high
2024 has been a year of highly anticipated and well-received farewell concerts across Australia for the Goldners. Dene Olding says wryly: “It was as if people suddenly realised, ‘oh they’re not going to be coming again, so we must make sure we get a concert this year’.”
Dimity Hall adds: “The whole tour is a fitting conclusion for us. Collectively, we decided what repertoire we wanted to perform across the year – all our favourite pieces – and then refined it, as there was just so much to choose from. The audiences have been fantastic. So responsive, welcoming and appreciative. One can feel that warmth as we come on stage and we have truly felt that every concert was a celebration.”
The program will culminate in a final, and no doubt emotional, Farewell Concert this coming Sunday 8 December at the Verbrugghen Hall at the Conservatorium of Music, Sydney under the auspices of Musica Viva; 8 December is the date in 1945 when Musica Viva players, together with the Founder of Musica Viva Australia, Richard Goldner (for whom the Quartet is named), gave their very first concert in the same hall. This Farewell is thus a fitting prelude to Musica Viva Australia’s 80th anniversary year.
The final program of three works includes a contemporary composition by Matthew Hindson. Hall says: “We could not go past the title of his work, Nothing is Forever.” Given their recording of the complete 17 Beethoven String Quartets (nine CDs), it was obvious that Beethoven would be a key choice and ‘Heiliger Dankgesang’ from String Quartet No 15 is an absolute favourite. Finally, there will be Schubert’s String Quartet No 14 in D Minor, D 180 Death and the Maiden, a major highlight of classical string repertoire.
How it all started
Olding recalls those early days: “The string quartet was a new challenge for both my playing and musicianship, which I embraced. I thought it would be fantastic to reach a high level with three other great players.”
He adds: “The quartet is a unique ensemble for string players. You really have to be on top of your game in a way that other genres don’t require. Of course, you have to play the big solo concerti, which requires plenty of technique but, in a quartet, there is a constant striving for perfection to match the sound and get perfect intonation.”
The Goldners have always been a unique ensemble, comprising two married couples, Dene and Irina, Dimity and Julian. Among string quartets in Australia, few, if any, have survived with the same four members after so many years. Often described as the ‘ultimate musical family,’ the Goldner Quartet has managed to maintain strong professional and personal relationships, which included children who often toured with them.
Hall says: “It is astounding to think we have been together for 30 years. This relationship is a special one that we don’t have with anyone else. There was always a mutual respect musically and a friendship that just grew.”
She continues: “We are basically an extended musical family. It’s often very intense, but it’s familial and professional as well. It has worked for us, but it’s been challenging and we have had hard times. I think we’ve survived, partly because we are married, but also because we’ve supported each other when it has been required between the four of us and with our two children. We also give each other space and step up as and when it’s required.”
Olding says: “Everyone sees it as remarkable, but to us it’s just normal. We don’t know any other way. I’m really proud that the Quartet has lasted 30 years without a change of personnel. That is quite an achievement in a string quartet.”
The secret sauce
Olding explains: “The secret ingredient, and what we have learned over the years, is that our personalities are in sync. No one is a prima donna in the group and there is no dominant musical personality. We also recognise each other’s strengths and weaknesses. We’ve learned to be critical in rehearsals, but not take it home with us – that was crucial. We don’t have combative personalities and everyone is well-matched in terms of abilities. Perhaps not being full-time, and bringing other influences to the group, has helped to keep us together.”
After three decades together professionally, Hall believes they have grown and developed in many important ways. She says: “We have learned how to be flexible and work well together. We were a good quartet when we started, but we are so much richer now for all the musical and personal experiences we have brought to the group. While chamber music by its very nature is a collaborative activity, we have become better musicians both individually and as an ensemble. It has encouraged certain skills and a good dynamic.”
She adds: “We have developed a silent language that others can find disturbing. We have strong non-verbal communication avenues and I think I can tell by someone’s posture or body language how they are feeling or behaving today.”
End of the road
So, the burning question – why pull the pin now?
Olding answers this candidly: “There were a number of personal issues that influenced the decision. Then COVID struck, which cancelled many concerts and a major tour in 2020 that was never revived. Momentum was lost and a certain amount of fatigue set in.
“There is also nothing left for us to prove and it is always good to go out on a high. Life has a way of telling you when it’s time to move on to other pastures.”
Hall adds: “A string quartet can never rest and that is partly why we decided 30 years has been wonderful, but it’s enough. It requires a particular extra dimension of dedication, more than any other ensemble. The four strings together demand a different level of commitment and you can never rehearse too much. After 30 years, we’re also tired.”
Olding is proud of many of the Goldners’ achievements, including the recording of the 10-concert retrospective of 20th century quartets for the Adelaide Festival in 2000 and the complete cycle of Beethoven’s string quartets recorded live over three weeks by ABC Classics. He also cites the 11 CDs recorded with pianist, Piers Lane, on the Hyperion label and their long-term collaboration as Quartet-in-Residence at the annual Australian Festival of Chamber Music in Townsville.
He has few regrets regarding what they may not have achieved, though says wistfully: “I would have liked to have had more of an international presence for the Goldner Quartet, but that was hard to achieve living in Australia.”
Hall adds: “I have no regrets about what could have been. We did what we could at the time. We certainly considered living overseas to progress our careers, but it never happened due to timing.”
Advice for the next generation
Both Hall and Olding share similar advice for the next generation of string quartets that may be following in their footsteps.
Hall says: “The world is a very different one now to when we started. The danger today is not having the time to develop your own personal style and there are many competitions. My advice is to take time to have a strong sense of self, to get experience and richness in playing into your toolbox. Then you can contribute to a quartet in a meaningful way.”
Olding adds: “I would advise any string player to master your instrument, jump in and just play as much and often as you can. Learn as much repertoire as you can and accept everything. Master the great quartets and be well-rounded.”
Hall and Olding are at pains to point out that no one in the quartet is retiring. They will no longer be playing together as a quartet, but will continue to play individually as soloists or with other ensembles, as opportunities arise. They emphasise the good fortune they have experienced in their musical lives, hoping to have opportunities to give back to the music world. Contributing is important to them at many levels, including teaching, coaching and conducting masterclasses, as well as working behind the scenes on music boards, awards programs or in advisory roles.
Individually, they clearly have an enormous amount to offer to the industry and are greatly looking forward to the next musical chapter. A fond farewell to the Goldners – you will be sorely missed.
Farewell Concert 8 December Verbruggen Hall, Sydney Conservatorium at 3pm. The concert will be livestreamed on 12 December at 7pm and is free on registration.
