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Review DANISH STRING QUARTET
 

Gramophone September 2022 : CD Prism IV  
….Not for the first time I find myself wondering as a counterfactual what the Adagio of the Ninth would sound like if orchestral ensembles could emulate the shared sense of purpose of quartets playing the ‘Heiliger Dankgesang’ ; also how the character of each late quartet would change had Beethoven added metronome marks as he did for the symphonies. All of which is to admire the stillness without stasis of the DSQ’s pulse for the movement and how they ease, phrase to phrase, between an unearthly pure tone and a warmer cantabile, never stretching the enveloppe to expressionist extremes. … The angelic play of the contrasting material of the ‘Heiliger Dankgesang’  as well as its sublime  hymnody are elaborated in both inner movements of the Mendelssohn, lending unusual gravity as well as grace to the Intermezzo.
The finales of both quartets draw a directly comparable strenght and grit from the DSQ, with only Mendelssohn’s recitative sections tending forward a wiriness otherwise absent from full-blooded studio sound. In concert, anything after the relentless momentum of Op 132’s finale would be too much ; at home, the consummate breadth of Op 13’s introduction turns the page on a new chapter, and the DSQ make compelling storytellers. Peter Quantrill – Review

The Strad issue August 2022: Typically enterprising programme from one of today’s outstanding quartets
Imaginative programming and superb quartet playing make this an outstanding album. Each of these works is intricately constructed using time-honoured devices such as fugues, and within that intervallic and motific liaisons which forge cogency and continuity. These are elements that the Danish Quartet palpably cherish.….The quartet negotiates the juxtapositions in tempos and mood in the first and third movements with absolute mastery, and the range of articulation and gestural delivery is magnetic and compelling, with voicing astutely used to point harmonic sequences as we savour the piece’s swift-changing emotions.
Mendelssohn’s youthful quartet pays homage to Bach in its contrapuntal mastery, but equally to Beethoven in its Sturm und Drang qualities. Once again, the Danish Quartet projects the urgency of the music through dazzling technical mastery and ensemble, handling transitions of mood within movements with conviction.  Joanne Talbot - Review in full 

The Strad 5/07/2022 : Leah Hollingsworth hears an innovative programme of Charpentier, Adams, Blumenfeld, Schumann and Schubert at the Shriver Hall Concert Series - Schumann’s String Quartet no.3 in A major opened the programme, and the players brought to its first movement a lilting warmth, and a clarity to the fugal second. The Adagio was well paced and deeply felt, especially from the violist, whose lush sound on the C string added depth and gravitas. The finale was given with due vigour. Schubert’s ‘Death and the Maiden’ closed the programme and complemented the Schumann in the way the dotted rhythms in the final movement harked back to the finale of that work. The four musicians also brought wonderful character to the first movement and were alive to the changing moods of the variation-form second.
To end, a wonderful encore: a folk tune from the group’s latest album featuring fast fingers from the first violinist and long lines underneath that built to a powerful close.  Leah Hollingsworth – Review in full

The Guardian  11/06/2022 : Classical home listening: Danish String Quartet reach Prism IV
Prism IV (ECM) is the penultimate album in their series uniting a Bach fugue, a Beethoven quartet and a work by a later composer. Here, Beethoven’s Quartet Op 132 in A minor is preceded by Bach’s G minor fugue from the Well-Tempered Clavier (arr. Emanuel Aloys Förster) and followed by Mendelssohn’s String Quartet No 2.
These players have a stated mission to keep the quartet repertoire fresh. They tackle Beethoven’s hallowed late work (which has the Heiliger Dankgesang, song of thanksgiving, in the third movement) with a sense of adventure and freedom rather than weighty reverence. Precise, lithe, flexible, their performance might not replace the many great interpretations out there – from the Busch to the Takács Quartets and beyond, depending on taste – but for vitality and humanity, keep this one by you.  Fiona Maddocks – Review in full

Daily Telegraph 4/06/2022: Scandi fab four shine a light on Beethoven, Bach and beyond - Four Scandinavian musicians are changing the way we look at Beethoven’s genius with a series of recordings
…The DSQ is by now firmly established as one of the most exciting and adventurous of the young quartets on the current scene, and you only have to listen to their handling of the finale of the Beethoven work to see why – the contrasting moods and switched are handled magnificently – visceral and thrilling one moment, headstrong and joyful the next.
They can weave a spell as well – the famous adagio which Beethoven wrote as a “holy song of thanksgiving” after recovering from severe illness – is beautifully shaped and played with great sensitivity.
The performance of the Mendelssohn is equally impressive …. I cannot recommend this album and the previous Prism series highly enough. Steve Moffatt – Review in full

Santa Barbara Independent 1/05/2022 : Danish String Quartet at UCSB’s Campbell Hall
…the Danish String Quartet returned to resume the presentation of their A&L commissioned project, the Doppelgänger.
This undertaking aims at nothing less than a comprehensive reimagining of the core of the Romantic string quartet repertoire. Approaching one of the most significant quartets ever written as a source and inspiration, Finnish composer Lotta Wennäkoski took Franz Schubert’s String Quartet No. 14 in D Minor, D. 810, “Death and the Maiden,” and built her response to it, Pige, to better express the maiden’s point of view.
These musicians have elevated string quartet music beyond the expectations of even the most discerning connoisseur, and it is a privilege to welcome them as frequently as we do. Charles Donelan - Review in full

New York Times 22/04/2022 : One Night, Several String Quartet Premieres
“Doppelgänger” Series - ...featuring the famous “Death and the Maiden” Quartet (D. 810) and Wennäkoski’s “Pige.”. Nørgaard introduced “Death and the Maiden” as “almost the definition of the Romantic string quartet,” though you wouldn’t have guessed that at first in the group’s interpretation — a controlled accumulation that built toward a sprinting and desperate tarantella.… Sørensen, as the first violin, was a stand-in for the Maiden, his articulation at the start delicate, even reticent. As the music becomes more animated, it lashes out and retreats, torn between fury and woe; the Danish players opted for restraint, their command of the score absolute but their passion understated. In the 2nd movement, they revealed the power in Schubert’s pauses, particularly with a patient ending, like an attempt to prolong its moment of peace. ..At the coda of that tarantella finale, here impressively cohesive amid increasingly frantic chorales and unstable runs, Death arrives in a sudden minor-key turn, delivered in grandly Romantic fashion.
“Pige” -…Throughout, Wennäkoski balances extended technique and expressive lyricism, sometimes layering the two, but bringing the instruments together for affecting silences. …
... the Danish players returned with another arrangement: of “Der Doppelgänger,” the series’s namesake. They referred to it as “one of Schubert’s best songs.” I’d agree, and add that it’s also one of his most terrifying, which they teased out by building on its harmonic ambiguity for a tension almost as discomfiting as the thought of death itself. Joshua Barone - Review in full

Palm Beach Daily News  31/3/2022 : Danish String Quartet wows crowd at Four Arts
The Danish String Quartet offered unique programming choices, beginning with Benjamin Britten’s “Three Divertimenti for String Quartet.”  ….Each piece in the Britten set was a wonder of bowing precision and control that required difficult stops and chops of the bow. The players knew how to ring their instruments in the hall on releases to add extra effect. The final movement, the Burlesque, was technically perfect and equitably balanced in the instruments.
Schubert’s "Death and the Maiden" quartet (String Quartet No. 14 in D minor, D. 810).  Each movement was performed with fire and technical agility, with an astounding clarity of balance in the ensemble.  Sarah Hutchings -  Review in full

Bachtrack 13/09/2021 : Danish String Quartet presents sublime Schubert and Sørensen pairing
After these two rich works were embedded in our memory, Schubert's Der Doppelgänger provided a judiciously short conclusion, reuniting with sumptuous classical language, the concert's structure felt completed.
Combining the old with the new, the Danish String Quartet have set sail on a joyous voyage. With a relaxed and easy demeanour, their communication is direct. Through this Doppelgänger project reconciliation between both languages may be eased. And certainly – wow! Sørensen's work will surely assimilate into the classic repertoire. What a start to such an innovative and wide-ranging endeavour. Is it really that we must wait a whole entire year until the next episode? Rose Dodd - Review in full

Classical-music 13/05/2021 : CD Prism III
The Danish String Quartet’s Prism series is building into an exceptionally rewarding venture. …The remarkable precision of the Danish is apparent throughout, moving as one organism whether in the wilder moments of Bartók’s final movement or the slow-moving counterpoint that opens the Beethoven. The Danish bring a concentrated introspection to both opening movements along with a suitably disconcerting sense of the abstruse. …The shifts between shrouded mystery and full-throated outbursts in the Allegretto of the Bartók are gripping, while the more extrovert moments of the Beethoven find motifs are passed between the instruments with the flair and relish of expert jugglers. Bach’s fugue, in the same key that Beethoven’s quartet opens in, feels like an inevitable homecoming in a stimulating and compelling disc.   Christopher Dingle – Review in full

The Whole Note 7/05/2021: CD Prism III
There’s a clear line here from Bach’s Fugue in C-Sharp Minor, with its four-note BACH motif, through Beethoven’s String Quartet No.14 in C-Sharp Minor Op.131, which starts with a fugue and a four-note motif, to Bartók’s String Quartet No.1, which also opens with a four-note motif and pays direct homage to the Beethoven. Outstanding playing and interpretation result in a terrific CD.  Terry Robbins - Review in full

L’Echo 9/04/2021 : Danish String Quartet, un quatuor viking à l'abordage
«14e Quatuor op. 131» de Beethoven - ….Les sept mouvements s’enchaînent sans interruption, comme si les idées qui se bousculent, s’entrechoquent et se répondent n’autorisaient plus le moindre silence dans la tête d’un homme enfermé dans sa surdité. 40 minutes (!) d’émotion brute, admirablement sculptées par le Danish String Quartet, ce brillant quatuor viking …
…Ce troisième et passionnant volume de ce «Prism Project» s’achève donc, comme les précédents, sur une étonnante mais très convaincante adaptation d’une fugue du cantor extraite de son «Clavier bien tempéré». Qui fascinait Beethoven. Éloquente démonstration. Stéphane Renard -  Article

Stretto.be 2/04/2021 : CD “Prism III Beethoven/Bartók/Bach” - Schitterend!
…Het is onvermijdelijk dat we ons werk baseren op wat we weten, als individu en als groep, maar het belangrijkste voor ons als muzikanten is dat deze verbindingen op een intuïtief niveau breed worden ervaren. We hopen dat de luisteraar ons zal vergezellen in het wonder van deze muziekstralen die helemaal van Bach via Beethoven tot in onze eigen tijd reizen.” Prism III - … Zowel qua concept, interpretatie als samenspel, net zoals de andere 2, alweer een schitterende cd. Niet te missen.  Michel Dutrieu - Artikel

NewYorkTimes 1/04/2021 : CD Prism III
… Minor keys color this album with a darker beauty than its predecessors, the tone set by the slow, mournful fugue at the start of Beethoven’s Opus 131. This recording isn’t eager to please. For all the mood swings of the work’s seven uninterrupted movements, the Danes are judicious about the emotions. The stark fugue thus aches more naturally than in other readings; pizzicatos, without added sweetness, ring with irony.
Fugue in C-sharp minor (BWV 849) -… The group treats it as a searching, sorrowful colloquy, both an echo and an ancestor of the Beethoven and Bartok, ending with an exhalation of harmonious resolution. Joshua Barone – Review in full

LimelightMagazine 26/03/2021 : Scintillating Scandinavian string playing shines a new light on Beethoven's
…the Danish String Quartet don’t oversell such features, here allowing the first-movement fugue in the Beethoven to unfold like carefully partitioned mist, creating just the right sense of mystery and suspense for the following movements – whether galumphing, galloping, searingly serioso or spinning kaleidoscopically through a series of variations – to be heard with fresh ears and open heart.
The Bartók not only benefits from this superb opening gambit in the sense of “make it new”; also revealed is a passionate intensity and perhaps bitterness which is Beethovian in spirit.  By the time we get to Bach’s sublime C Sharp Minor fugue – which this listener, and presumably most of you, will be used to hearing on piano, or possibly harpsichord – we’re in a different headspace, and hear in the unfurling of subjects and countersubjects, the dense polyphony and dramatic stretti, not just the ghost of a Renaissance ricercar but a prefiguration of Beethoven’s genius.
Fanciful, maybe; but it’s that kind of imaginative cohabitation which playing of the calibre of the Danish String Quartet’s makes possible. Will Yeoman – Review in full

Opusklassiek Maart 2021 : CD  Prism III
…Het Danish String Quartet is een topensemble dat niet alleen een verfrissende kijk op deze partituren biedt, maar ook excelleert in volmaakt samenspel, intonatie, frasering en dynamiek. Het zijn vertolkingen die worden gekenmerkt door een eigentijdse benadering, zoals dat overigens ook geldt voor vrijwel alle, meestentijds nog vrij jonge ensembles. De winst is de precisie en de volstrekte helderheid in de stemvoering, ….
De opname is in de beste ECM-traditie: ‘fabelhaft'. Aart van der Wal - Artikel

Rondomagazin.de 13/03/2021 : CD „Prism III“ - Beethoven, Bartók & Bach
… Nahtlos knüpft man auch mit entsprechender gedanklicher Klarheit und Artikulation an den Geist der beiden Vorgängeralben an. Und dieses ineinander verknotete Wechselspiel aus komplex verdichtetem Konstruktivismus und poetischer Idee macht das Quartett einmal mehr mit einem ungemein körperreichen Ensembleklang plastisch und sinnlich erfahrbar. So muss erzählte Musikgeschichte klingen. Guido Fischer - Resenzion

Cadenza.nyc 19/02/2020: Danish String Quartet's Electric and Ecstatic Late Beethoven
..The melancholy fugue that opens the monumental Quartet in C-sharp Minor, Op. 131, emerges from the Danish String Quartet with their vibrato perfectly in sync. From dusky sighs of resignation to a wailing cry of desperation, the ensemble shapes the movement with patience and emotional ambition. The six movements unfolding continuously from there reward that patience with moments of intense release, and balance that emotional ambition with sour humor and bristling anger.
.... The Quartet’s breakneck tempo highlights the movement’s manic quality. When the players — in what was an avant-garde technique in Beethoven’s time — all bow sul ponticello, we hear a ghost, suddenly appearing from another plane of the universe, then quickly rushing back to earth, jolting us back to reality. For a moment, it felt like the air in Alice Tully Hall had been sucked out in a vacuum, taking our breath away.
The Quartet in F Major, Op. 135 - …Here too, the Danish String Quartet plays with virtuosic electricity, witty humor, and in the slow movement, Lento assai, cantante e tranquillo, lyrical directness and simplicity. The audience, many of whom had witnessed the quartet’s complete cycle, leapt to their feet in gratitude. Like a pair of great plays that encapsulate the universe of human experience, it was an evening to be savored and contemplated. Brian Taylor – Review in full

NYTimes 19/02/2020: Beethoven at 250 - A Quartet Sets a New Standard for Beethoven Marathons
17 Works, 9 Hours, 10 Days
From the first phrase of the opening work, the Quartet in D (Op. 18, No. 3), the blissfully lyrical violin melody, soaring over seemingly supportive harmonies in the other strings, sounded cozy and alluring, …
It’s difficult to explain what makes the Danish String Quartet’s playing so special. Other ensembles arguably match these players in technical excellence and interpretive insight. To say that their performances represent a marvelous balancing of qualities suggests that they occupy some place in the middle of the road. The results are anything but: There is a winning mix of studied concentration and willful freedom in their playing… That came through during this entire series.
Their technical command resulted in precise execution. Yet they played with enough leeway to allow instinctive responses to take over in the moment. You might assume that musicians in their 30s would bring youthful energy to bear, but I was struck by how often they opted for a raptly restrained tempo. Rhythms were dispatched with clarity and exactitude, without a trace of rigidity.
They have a shared sensibility and richly blended sound. But that doesn’t stop their individual musical characters from continuously shining through….
They ended the Quartet No. 13 in B-flat (Op. 130) with the original finale, the Grosse Fuge, … That section still comes across like the fugue to end all fugues, with outbursts of sputtering rhythms, obsessively hammered attacks and tangles of wayward counterpoint. As played here it sounded audacious, extreme and, finally, exhilarating. Anthony Tommasini – Review in full

Vulture.com 13/02/2020: Why I’d Rather Hear the Danish String Quartet Than Any Other Foursome
Midway along the Danish String Quartet’s journey through Beethoven’s life, the players led the audience into a dark wood. The ninth quartet (Op. 59, No. 3) opens in dissonant despair, each crushing chord dropping inexorably onto the next. Then, in a classic feint, the apparently endless slough suddenly opens into a bright C major clearing. When the Danes pivoted from gorgeous misery to a blithe dance, you could practically hear the audience in Alice Tully Hall gasp in relief. The players delivered each phrase as an utterance that had just sprung to mind. They seemed genuinely curious to know what came next, to keep up with the composer’s mercurial thoughts.
…Performing the complete Beethoven quartets in 11 days is a maven’s mountain. This series, presented by the Chamber Music Society of Lincoln Center, is packed with listeners who can compare and contrast these performances with those of the Juilliard, Tokyo, Berg, and Emerson Quartets. The Danes seemed unfazed by all the reverence.
….The midpoint concert ended with the final fugue of the C Major quartet (Op. 59, No. 3), executed at fighter jet speeds with an astounding mixture of nonchalance and intensity. The separate strands unspooled, overlapped, and intertwined, the notes slipping through their fingers like tiny knots, so that it seemed like the whole thing would have to end in an exhilarating tangle on the floor. When they were done, the audience jumped with the thrill of having witnessed such a thing. And so the group sat down and played the movement again as an encore, as if to say: We could do this all night. We’re still the last guys standing. Justin Davidson – Review in full

New Yorker Magazine 25/11/2019 : The Pristine Empire of ECM Records
The Danes are, in fact, musicians of impeccable refinement, and the first two “Prism” releases suggest a major cycle in the making. Each disk sets Beethoven alongside a later composer: “Prism I” pairs the Opus 127 Quartet with Shostakovich’s spectral Fifteenth Quartet; “Prism II” places Opus 130 next to Alfred Schnittke’s fraught Third Quartet. There is nothing novel in pointing out the visionary quality of late Beethoven. Yet the Danes complicate the narrative by including, at the start of each installment, an arrangement of a fugue by Bach, thereby emphasizing not only Beethoven’s premonitions of the future but also his consciousness of the past. ….
Not unexpectedly, the members of the Danish Quartet bring tonal heft and rhythmic vigor to the proceedings. Their Beethoven is no cosmic enigma: you register the physicality of his stomping ostinatos, the off-kilter drive of his dance movements, the playful abruptness of his stylistic transitions. …
At the same time, the Danes have no trouble stepping outside worldly realms and into zones of rapt contemplation. The Adagio of Opus 127 is taken at a riskily slow tempo, yet it unfolds in long-breathed lyric arcs. The Cavatina of Opus 130 is steeped in unaffected Old World style, with throaty portamento slides from note to note. The wrenching section marked “beklemmt”—oppressed, anguished—curls inward toward silence, with bows brushing on the strings in whispered gasps. The great hymnal chords that underpin these slow movements are tuned with extraordinary care, delivering a chiaroscuro of resonance. Alex Ross – Review in full

Stringsmagazine.com 14/11/2019 : A Prismatic Program from the Danish String Quartet
…The Danish’s admirable balance of voices made the sudden shift into the dark, barren landscape of the Shostakovich all the more arresting, beginning with the threadbare tones of violinists Frederik Øland and Tonsgaard Sørensen in the most minimal of dialogues. Norwegian cellist Fredrik Schøyen Sjölin laid out lean pedal tones that added to the effect of a vast, empty space, with impenetrable darkness looming beyond.
All six movements of Op. 144 are adagios. …The effect was at times hypnotizing, yet this never dulled into a generically lugubrious uniformity. ...Most striking of all in this remarkably concentrated performance was the paradoxical sense of a dusky beauty that the players conveyed, despite—or, really, by virtue of the music’s unswerving bleakness. …
Nørgaard and his colleagues illustrated the point in a splendid performance of the Beethoven that was rewarding on several levels. The opening ensemble of chords seemed to explode with colors that were subsequently unfurled in the Allegro’s long-spun melodic line. The distinctive polish and sheen of their sound emerged from nuances, not from a smoothing over of textures into a homogeneous “beauty.”
Such a richly satisfying and fulfilling performance required no encore, but the Danish treated the audience to a tender lagniappe, playing their arrangement of a Carl Nielsen song. Thomas May – Review in full

FonoForum 10/10/2019 : Danish String Quartet | Prism II - Bach - Schnittke - Beethoven
…Schon hier, bei Schnittke, demonstriert das Danish String Quartet die von ihm bekannte Flexibilität im Klang, mit einer Palette von vibratolosfahlen Farben bis zur brutalen Attacke.…. Die wunderbar innige Cavatina ist schließlich der Höhepunkt einer teilweise geradezu zärtlichen Interpretation. Marcus Stäbler - Resenzion

Nrc.nl 9/10/2019 : Danish String Quartet onder hoogspanning - Prism II
In de aanloop naar Beethovens 250ste geboortejaar brengt het Danish String Quartet een reeks van vijf cd’s uit, Prism, … Het eerste album, met Sjostakovitsj tussen Bach en Beethoven, werd in 2018 genomineerd voor een Grammy.
… Prism II staat van begin tot eind onder hoogspanning en vormt een feest van herkenning en associaties, gespeeld met ziedende intensiteit. Joep Stapel - Artikel

Ecm Reviews 25/11/2019: CD Prism II
Bach’s Fugue in B minor from Book I of The Well-Tempered Clavier, in an arrangement by Emanuel Aloys Förster - … Moving with tenderness and spiritual comportment, it touches a window of reflection into unknown futures, tracing patterns of suspension and transcendence.
Schnittke’s String Quartet No. 3 - …The opening Andante’s sirens move with grace and finality, even as they activate seeds that will one day grow into life. The contrast between stretches of quietude and heaves of mourning are transfixing. The middle movement’s self-refractive allusions are brilliantly examined, rendering Shostakovich-leaning textures and palpable flavors. The final movement, marked Pesante, returns to that keening quality of the first, treating every sonorous shift as a veil to be dyed and worn as a screen through which to view a monochromatic world.
Beethoven’s epical String Quartet No. 13 in B-flat major turns night into dawn. The opening stretch of landscape resolves into a jagged dance of joy. Its adjoining Presto even injects a bit of humor into the proceedings.
The 3 subsequent movements are like paintings in sound, each portraying the same scene from a different angle. The DSQ opts for the quartet’s original version, including the monumental Große Fuge (op. 133) as the finale. After a declamatory overture, it morphs into some of Beethoven’s most boisterous writing for the genre. A superb account in every way. Review in full

Highresaudio 22/09/2019: Danish String Quartet - PRISM II
…Anyone familiar with Bach's Fugue in B minor from the first book of the Well-Tempered Piano in the sober rendition by Glenn Gould will disbelieve when they hear the arrangement of Beethoven's contemporaries Emanuel Aloys Förster interpreted by the Danish String Quartet as the first piece on Prism II. It is not the completely different, elegiac sound of the strings that makes you stop, but the calm, infinitely relaxed, deeply sensitive approach of the Danes, who make Bach sound timelessly valid, contrary to Glenn Gould's modern, sober view.
Schnittke - ….In the 3rd String Quartet the allusions experience a kind of mounting in and processing of, among other things, quotations from Orlando di Lassos and the main theme of Beethoven's Great Fugue, whereby the bridge to Beethoven is built on PRISM II. …. Naturally trimmed for precision and temperament, the Danish String Quartet can deal perfectly with Beethoven's audacity embodied in the Great Fugue like few of its competitors. The light and darkness of the fugue are ideally staged on the basis of soft sound generation and also find their ideal counterpart in the preceding string quartet, which is interpreted as a prelude to the mighty finale in the form of the great fugue. PRISM II proves to be a milestone in the still short history of the PRISM series by ECM with the well-placed, multi-faceted Danish String Quartet. Review in full

Sfcv.org 19/02/2019: A Haydn Quartet Is a Revelation in the Hands of the Danish
Beethoven quartet Op. 135 - …the Danish players played with both an eye for new emphases and a lot of heart. They brought out the beautiful intricacies of the slow movement, and heightened the drama of the interlude — “The Difficult Decision” — to the cheerful finale.
Haydn’s Quartet in C Major, Op. 20 No. 2 - … they played with convincing weight, as if to imitate the cello — who, himself, rose from the harmonic foundation to play the melody in a way that melded with the first violin. In the finale, a fugue, each line was given equal importance — and yet all was so light, everything sounded with perfect clarity, like a tiny music box.
Fluid phrasing made the monumental slow movement — aptly named Capriccio — practically operatic. The sweetness of the arias made even more brusque the sudden take-offs of the dotted rhythms, played in striking unisons that linger on diminished harmonies. Rebecca Wishnia - Article

Classicalpost.com January 2019 : the Most Innovative Instrumentalists category
The Nordic lads of the Danish String Quartet possess warmth, wit, a beautiful tone, and technical prowess second to none. They are also consumed by many different projects: The Series of Fours in the beautiful old Radio Hall in Copenhagen; indie classical music festival, DSQ Festival; showcasing some of the treasures of their Nordic music traditions; and a series of five Beethoven albums called PRISM, of which the first one just received a Grammy nomination. Their intrigue in all aspects of the classical music world is ambitious and exciting with many awaiting what the group will do next.

 

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