contacts
Brazil - Alberto Kremnitzer
Brazil - Alberto Kremnitzer
UK - Jill Davies
UK - Jill Davies
Israel - Sara Piro
Israel - Sara Piro
Israel - Chen Holtzman
Israel - Chen
Holtzman
"The PHOENIX artists’ playing of Op.20 Quartets 2, 5 and 4 was indeed a celebration of Haydn’s “new-found freedom”, as they gave conviction to the intensely individual roles woven throughout. In the Adagio movement of No.2 in C-major, Herzog’s hauntingly beautiful ‘cello solo, Epstein’s almost unaccompanied flute solos and some robust ensemble “comments” create a kind of Baroque-style drama. Or are we indeed experiencing a concerto when presented with a flute cadenza? Probably the most remarkable aspect of the Op.20 quartets is their engagement in counterpoint, immediately discernible in No.2’s opening movement. This quartet and No. 5, which followed, both have final movements cast as elaborate fugues; these were played at the Ein Kerem concert with committed personal expression...
The string-players, performing on 18th century instruments with gut strings with historic bows and Epstein playing an original Classical flute built in 1780, produced a natural sense of balance, a soundscape in which Haydn’s wealth of ideas pervaded the quartet texture at every opportunity...
Joining Moshe Aron Epstein's outstanding playing, Ya'akov Rubinstein, no longer a new face on the early music scene, gave a performance of fine musicality. Violist Rachel Ringelstein's splendid interpretation of each melodic line never fails to impress As to the ‘cello’s newborn role in the chamber music genre, Myrna Herzog enticed a warm-toned stream of finely shaped sound from the ‘cello, expressive but always within the line and contour of good taste. With Haydn’s music characterized by directness and accessibility to the listener, it nevertheless presents a myriad of challenges to the performer. The PHOENIX players offered the audience the pleasure of listening to playing that is committed to musicianship of the highest order.
Read the full review here.
