Nevine String Quartet

Nevine String Quartet

Nevine String Quartet 1

String Quartet in Wellington formed in 1995 from the ranks of the New Zealand Symphony Orchestra. The players were: Liz Patchett & Janet Armstrong - violins, Peter Barber - viola, & Robert Ibell - cello. The group performed a varied repertoire and included in their programmes works by New Zealand composers Anthony Ritchie, John Psathas and Nigel Keay. Nevine Quartet's last major project was "The Kreutzer" based on work by L. Tolstoy, L. Janek and L van Beethoven, directed by Sara Brodie, and starring Tom McCrory

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Arianna String Quartet

The Arianna String Quartet is an American string quartet that has been in-residence at the University of Missouri-St. Louis since 2000. Formed in 1992, the quartet's current members are John McGrosso and Julia Sakharova, violins; Joanna Mendoza, viola; and Kurt Baldwin, cello. In 1994, the quartet won the Grand Prize in the Fischoff National Chamber Music Competition. The quartet has performed throughout the United States, Mexico, Japan, Canada and France. Reviewing a concert given at Music Mountain Summer Chamber Music Festival in 2004, The New York Times noted that the quartet "played like the good young group that it is", and the Chicago Tribune, reviewing a 2000 concert at the Chicago Cultural Center, wrote that the quartet "makes music with the tonal warmth, fastidious balance, and heightened communication skills of groups many years its senior." The Arianna String Quartet currently has a long-term contract with Centaur Records, and also recorded for the Albany Records and Urtext Digital Classics labels. For the Centaur Records label, the quartet has recorded the two string quartets of Janek, the Horn Quintet (K. 407), G minor piano quartet and Clarinet Quintet of Mozart, and the early and middle string quartets of Beethoven. Reviewing the quartet's recording of Beethoven's string quartets Opp. 59, 74, and 95, Jerry Dubins of Fanfare wrote: "I am prepared to state and defend my belief that these may just be the greatest performances of Beethoven's middle quartets in recorded history."

Nevine String Quartet 2

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Elektra String Quartet

Romano Crivici formed the Elektra String Quartet in 1990. It came to be considered one of Australia's most innovative and prolific ensembles in the contemporary music scene. Performing both nationally and internationally with tours of South America and Europe, it presented a range of music with particular focus on Australian composers, and the compositions of its director and founder, Romano Crivici. Its 2015 concert series at Venue 505 in Sydney, won the Sydney Fringe Festival Genre Excellence Award for Best Musical Performance with its performance of Crivici's Gregorian Funk. The present line-up of musicians are drawn from the ranks of Sydney's professional players - Andrew Haveron (concert master of the Sydney Symphony Orchestra) and Romano Crivici on violin, Robert Harris, viola and Adrian Wallis (Sydney Symphony Orchestra) playing cello. Sydney-based, Elektra came into being in 1990 in response to its members strongly felt need to go beyond the conventional limits, images and accepted boundaries of the traditional string quartet. Performing both nationally and internationally Elektra received critical acclaim as a ground breaking, exciting and always accessible voice in the Australian contemporary music scene. Crivici says - "Looking back, it is almost strange to remember the excitement and uniqueness of being in a position to explore, and participate in the creation of new music, new techniques, sounds and technologies, both amongst ourselves, and in collaboration with other musicians and composers. As such, our performance philosophy consisted in balancing our experimental and improvisational musical explorations with solid core works in our programming" Members of the quartet have changed over the years: Mirka Rozmus, Jacob Plooj, Chris Latham, Romano Crivici on violin; Rudi Crivici on viola and Adrian Wallis, Marcus Hartstein, Peter Morrison, Emma Luxton, on cello.

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String Quartet (Barber)

The String Quartet in B minor, Op. 11 was written in 1935-36 by Samuel Barber. Barber arranged the middle movement for string orchestra as his well-known Adagio for Strings in 1936. Barber continued to revise the piece, particularly the finale, until 1943. Molto allegro e appassionato Molto adagio [attacca] Molto allegro (come prima)Begun while living in Austria with his partner Gian Carlo Menotti after Barber's Prix de Rome, Barber intended that the quartet be premiered by the Curtis String Quartet, but did not finish the piece in time for their concert tour. On September 19, 1936, Barber wrote their cellist Orlando Cole: "I have just finished the slow movement of my quartet today-it is a knockout! Now for a Finale." Having completed a finale, the string quartet was premiered in its provisional form by the Pro Arte Quartet on December 14, 1936, at the Villa Aurelia in Rome. Afterward Barber withdrew the finale so as to rewrite it, which he did by April 1937. He rewrote it again before it was published. The final form was premiered by the Budapest Quartet on May 28, 1943, at the Library of Congress in Washington, D.C. The opening movement is in sonata form, the second movement a famous adagio, and the final version of the finale, added to the second movement attacca, is shortened, lasting two-minutes, and revisits themes from the opening movement, thereby creating a cyclic form for the quartet. The opening movement has three theme areas, the first a dramatic motif stated in unison by all four instruments, the second slinky chorale like music, and the third a yearning lyrical melody. The quartet as a whole is in the key of B minor, however the central movement is in B minor. The materials of the second movement consist of "a very slow and extended melody built from stepwise intervals, slightly varied in its numerous repetitions, uncoiling over (or in the midst of) sustained chords that change with note-by-note reluctance, all of it building into a powerful climax at the high end of the instruments' range and then quickly receding to the contemplative quietude that ultimately defines this musical expanse." Barber accepted a commission for a second string quartet in 1947, but never got past a few pages of sketches.

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