The program opened with a pert, bouncy account of Haydn’s String Quartet in G (Op. 77, No. 1) and closed with an imposing rendition of Beethoven’s String Quartet in B flat (Op. 130), with its titanic original finale, the “Grosse Fuge.”
Both works had a compelling warmth and equanimity — no small feat given the arrival last year of a new second violinist, Axel Schacher. The Beethoven also had a spiritual depth and expressive urgency that left you eager to hear this quartet’s forthcoming cycle, due this year.
Steve Smith, New York Times, 29 March 2011
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