The Portland string Quartet performed in concert at Woodfords Congregational Church on Jan. 2, and their music-making was as close to perfection as mere humans can accomplish.

As a critic, it pains me to state that the only fault I could write about was the fact that on this occasion the church was only half full. This surely is a pity because the quarter rewarded those who did attend with superb music.

The quartet now consists of Dean Stein and Ronald Lantz, violins; Julia Adams, viola; and Paul Ross, cello. This year, Stein became the first violinist due to the passing of Stephen Kecskemethy who occupied that position for more than 40 years. That kind of substitution does not come easily or without risks. However, after listening to Stein play in several concerts with the quartet, one can safely state that while the quartet is comprised of four equal members, he is now the first among equals and functions like a star quarterback. His technique is impeccable and his intonation even in the uppermost register of the violin is ever secure. Like his fellows in the group, his timbre is warm and full-bodied even in the softest places.

The only point to criticize at the concert was when the exquisite overhead lamp did not seem to function. Apparently it needed to be plugged in. Tsch, tsch, such carelessness. Lantz, who affected the operation, sought to inject some humor into the situation by posing this question after plugging in the cord:

“How many second violinists does it take to change a bulb?”

Answer: “None, because they can’t go that high.”

Well, I can’t vouch for other violinists who play the second part, but Lantz can play the high notes as well, musically and securely as anyone. Period. And with regard to Adams and Ross, in the rarefied air of professional string quartets they can play quickly, musically and with great understanding of the composition they are performing. Nowhere was this is greater evidence than in the last movement of the Brahms quartet, which closed the performance.

The first selection on the program was the only string quartet composed by Fritz Kreisler. This gentleman was one of the most beloved and distinguished violinists of the first half of the 20th century. He is best remembered for works that are frequently played as encores, namely: “Caprise Viwenois,” “Tambourine Chinois,” “Liebesfreud” and “Schon Rosmarin.”

The titles are in German because he was born in Austria, although he spent the bulk of his life in America. The quartet is no piece of sentimental fluff, but rather a substantial post-romantic, emotional work. Of the four movements, it is the third that can best be described as lush. He arranged this movement as a solo for violin and piano. The quartet performed this quartet ever so lovingly on this, the occasion of that composer’s birthday.

One might think that these folks who have made music together for more than 40 years might be a tad tired of it all, but one would be wrong to think it. They perform today as if they just started to play together. There is joy to their playing that hides the fact that while they make it look easy, it is hard work. Since they love what they are doing, however, it is not work at all.

The balance of the program included a “Duo for Violin and Viola” by Laszlo Weiner, a gifted Hungarian composer who did not survive his 28th year, as the Germans followed their program of trying and nearly succeeding in wiping out as many Jews as they could. This work, brilliantly played by Stein and Adams, is but one of a handful of works that survived.

The concluding work was the first string quartet by Brahms. A kind of symphony for string quartet, this piece would challenge any group. To get four musicians to breathe as one, especially with many changes of tempo, as in the last movement, takes a bit of doing. This music requires a virtuoso group to realize its beauty and complexity. The Portlanders are such a group.

Their playing elicited bravos and sustained applause, which was well-earned. Their last concert of the season will take place on April 27 at Woodford’s ”“ where the acoustics are superb, I might add.

— Dr. Gold is a composer/conductor and an arts reviewer of the Journal Tribune.