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Gapplegate Classical-Modern Music Review

Jerusalem Quartet, Smetana & Janacek String Quartets

BY GREGO APPLEGATE EDWARDS

Bedrich Smetana and Leos Janacek wrote marvelous string quartets that simultaneously captured autobiographical elements and also made brilliant use of folk and folk dance elements, all transformed into powerful personal vehicles of pre- and early-modern expression. The Jerusalem Quartet have captured the excitement of the strong rhythmic dynamics, the idiosyncratic elements and the singing qualities of the compositions in a superb manner on their recent three-work disk (Harmonia Mundi 902178).

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Le Temps (Geneva)

classique jeudi 27 février 2014

BAIN DE LYRISME ET D’ONIRISME

Par Julian Sykes

Le Quatuor de Jérusalem a ému le public, mardi soir au Conservatoire de Genève. Outre le «Quatuor en fa» de Ravel, il jouait Haydn et le très beau Quatuor «De ma vie» de Smetana

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LONDON SUNDAY TIMES

...on this magnificent disc, from the viola's fierce attack in the Smetana's fourth bar, their high-voltage playing suits the music perfectly. It also brings out the kinship between the two composers. for all the uniqueness, the utter strangeness, of Janacek's idiom, his quartets are heirs of Smetana's E minor. Highly recommended. DC 

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Gramophone

Israeli clarinetist joins the Jerusalem Quartet

Few command Brahms's string quartet the way the Jerusalem do here in Op.51 No.2. Even the most reputable players can't always make the close-knit harmonies sound out, leaving the thematic transformations to peek out from behind layers of texture, resulting in music that seems remote. Immediacy certainly isn't lacking here, partly because the quartet's tight blend never allows the sound to become unwieldy but achieves a specificity allowing a greater degree of contour, not to mention more shades of muted mystery.

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Limelight Magazine

BRAHMS Clarinet Quintet, String Quartet in A Minor

...Make no mistake: this is musicianship of the highest order.

[The quartet is] now so finely attuned to each other’s’ musical sensibilities that their music-making is more instinctual than measured. Thus stimulating conversation and contrast are the order of the day: between first and second subjects; between fast and slow sections; between harmonic and polyphonic textures. The chiaroscuro of the opening movement is particularly well managed, so refined and yet so full of conflict that the following two movements seem to foreshadow the ultimate drama of the finale. Superb.

Read the full article on Limelight Magazine


The Independent

Classical review: Jerusalem Quartet / Leonskaja

Wigmore Hall, London

Michael Church

No other composer had to endure pressure as Shostakovich did. It was written in his face, and rings through every bar of his music: pressure from the Soviets to stifle his voice, and inner pressure from that voice to be heard.

When politics made operatic work impossible he retreated into the intimacy of chamber music, embarking on the most majestic succession of string quartets since Beethoven’s. For the first concert in their cycle of these works, the Jerusalem Quartet gave us the first quartet plus the high-spirited “Elegy and Polka” and the “Piano Quintet Op 57”, for which they were joined by the great Elisabeth Leonskaja.

Shostakovich told his friends not to expect any special depth in his first quartet, which he described as ‘spring-like’, but the Jerusalems invested its first movement with a wan beauty, and its finale with whirling exuberance. Playing close together and producing a very concentrated sound, they found exactly the right arioso register for the Elegy, and gave the wrong-note Polka the red-nose treatment. In the Quintet, Leonskaja’s massive musical personality forced them to raise their game: the Fugue had Bachian grace, while the concluding movement became a riveting dialogue between piano and strings.

read this article on independent.com


Sociedad Filarmónica: Crítica de los cuartetos de Shostakovich por el Jerusalem Quartet

MUNDO CLÁSICO: “Shostakovich: cuartetos en el S. XXI”

Joseba Lopezortega

Bilbao, 05 y 06/11/2013. Sociedad Filarmónica. Jerusalem Quartet. Alexander Pavlovsky, violín. Sergei Bresler, violín. Ori Kam, viola. Kyril Zlotnikov, violonchelo. Dmitri Shostakovich: Cuartetos de cuerda números 1, 5, 6, 12, 4, 8, 10, 11. Aforo: 930 localidades. Ocupación: 80 %

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Leipzig Review

Jerusalem-Quartett

Brahms mit Gästen im Gewandhaus

Es hat etwas charmant Subversives zur ammermusik im Mendelssohn-Saal es Gewandhauses zu gehen, derweil m Großen Saal gewissermaßen der är steppt – also beispielsweise aus unk und Fernsehen bekannte Größen ieder und Schnurren zum Besten geben. ann müssen die Damen an der arderobe fragen, ob man auch wirklich ur Kammermusik wolle, löst man ich irgendwann aus dem breiten Menschenstrom eraus – wenn das nicht ich schon etwas Elitäres hat.

Besonders stark dürfte dieser Eindruck ohl am Freitag gewesen sein. ls sich dem bedauerlicherweise recht leinen elitären Kreis eine so unstrittige eltklasse eröffnete, dass man jedem, er das verpasst hat, mit einem itleidigen Lächeln begegnen möchte: as Jerusalem Quartet spielte Brahms gemeinsam mit Tatjana Masurenko nd Gary Hoffmann – und Schostakowitsch.

Eine Sternstunde im Rahmen des rahms-Zyklus in der Kammermusikreihe es Hauses, maßstabsetzend und undum befriedigend. Aus je zwei uartetten und einem Sextett sind die eiden Konzertprogramme des Wochenendes omponiert – intelligent und nspruchsvoll.

Diese Musiker sind nicht nur Meister er kammermusikalischen Kommunikation. ie loten nicht nur tiefschürfend ie Komplexität dieser Literatur aus, ondern sie sind auch Virtuosen der rogrammdramaturgie. Denn geschickter ann man den Bogen eines solchen rahms-Schostakowitsch-Programms aum spannen. Brahms’ Erstlinge der eweiligen Gattung rahmen das Programm, tehen einander in ihrer unglaublichen egensätzlichkeit gegenüber: or Expressivität und Ausdruckswollen ̈berschäumend das Streichquartett, n seiner Ausgeglichenheit chon fast zu vollkommen das Streichsextett. n der schmerzlichen Klarheit on Schostakowitschs zwölftem Streichquartett indet beides einen wirkungsvollen eibungspunkt.

Gleichermaßen sensibel und expressiv ird all das in den Interpretationen on Alexander Pavlovsky, Sergei Bresler, ri Kam, Kyril Zlotnikov, Masurenko nd Hoffmann deutlich. Makellos ist as, was diese Musiker aus den Partituren achen – vor allem im Miteinander, as auch in der Musikstadt mit ihrer ammermusiktradition seinesgleichen ucht.

Am Schluss eines solchen Abends eiß man wieder einmal, dass intellektuell nspruchsvolle Unterhaltung auch ür den derart Unterhaltenen, wenn uch befriedigende, durchaus auch Arbeit st.

Tatjana Böhme-Mehner


Hamburger Abendblatt

Intensiver Auftakt des Schostakowitsch-Zyklus

Schon am ersten Abend seines fünfteiligen Projekts fesselte das Jerusalem Quartet sein Publikum im kleinen Saal der Laeiszhalle

VON MARCUS STÄBLER

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Welt am Sonntag

Klingende Rätsel

Wer die Musik von Schostakowitsch mag, hat jetzt die Gelegenheit, dessen 15 Streichquartette zu hören, gespielt vom Jerusalem Quartet

VON ILYA STEPHAN

Wie unzulänglich und irreführend Worte über Musik sein können beweisen immer wieder die Werke von Dmitrij Schostakowitsch. Dessen Musik ist so reich an bedeutungsvollen Zitaten, musikalischen Anspielungen und Doppelbödigkeiten, dass sie im Laufe der Jahrzehnte die gegensätzlichsten Deutungen provozierte. Je nach ideologischem Standort sahen Musikologen in Schostakowitsch den hoch geehrten Staatskomponisten der Sowjetunion oder einen heimlichen Dissidenten, der tönende Kassiber aus dem sozialistischen Kerker schmuggelte. Doch egal, was man in seiner Musik entdeckt zu haben meinte, die Auslegung seiner klingenden Rätsel blieb bestimmt von den Wahrnehmungsmustern des Kalten Krieges. Selbst lange nach seinem Fall in der realen Welt scheint der Eiserne Vorhang noch immer quer durch unser musikalisches Langzeitgedächtnis zu laufen.

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Ensemble Magazine 4-2013 August - September

20 JAHRE JERUSALEM QUARTET

Carsten Dürer

Als ich zum ersten Mal eine CD-Einspielung des Jerusalem Quartet hörte, glaubte ich baum, dass die Mitglieder noch so jung sind. Es war eine Einspielung mit den Streichquartetten Nr. 1, 4 und 9 von Dmitri Schostakowitsch. Einige Zeit später traf ich mich dann mit dem damaligen Bratscher des Quartetts, Amihai Cirosz, und dem 2. Cieiger, Sergei Bresler, zu einem Interview in Tel Aviv. Das war Mitte 2005. Und damals spielten die vier Streicher schon 12 Jahre zusammen im Quartett. Seither sind nicht nur sieben weitere Einspielungen bei Harmonia Mundi erschienen, sondern das Quartett ist weitaus bebannter und erwachsener geworden. Zudem gab es vor einigen Jahren einen Wechsel an der Bratsche zu Ori Kam. Und die Quartette von Schostabowitsch beschäftigten das Quartett heute vielleicht mehr denn je. Mittlerweile ist das Quartett 20 Jahre alt. eirund genug, um mich wieder mit den Mitgliedern zu treffen, d ieses Mal burz vor einem Konzert im niederländischen Maastricht. Und dieses Mal sind alle vier Mitglieder des Quartetts am Tisch. Alexander Pavlovsky (1. Violine), Sergei Bresler (2. Violine), Ori Kam (Viola) und Kyril Zlotnikov (Cello).

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Strad Magazine

Brahms: String Quartet in A minor op.51 no.2, Clarinet Quintet in B minor op.115

Beautifully polished performances of two Brahms masterpieces

Thankfully we have passed beyond the era when clarinettists thought of the Brahms Quintet as a quasi-concerto, though few have gone quite so far in the opposite direction as Sharon Kam, whose playing for much of the time melts into the string textures. The result is by far the most intrinsically beautiful performance of the work that I have ever encountered. Everything ebbs and flows with a natural pulse, the first movement’s development could hardly be gentler and if the Adagio may possibly be a tad too slow, it leads neatly into the players’ unhurried Andantino and a reflective view of the finale.

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NEW YORK TIMES

MOMENTS OF LYRICISM IN A PURELY RUSSIAN STORY

By CORINNA da FONSECA-WOLLHEIM

In Shostakovich’s career, pockmarked with forced commissions, attempts to placate Soviet officials and humiliating bouts of censorship, his string quartets occupy a special place. Many critics have likened them to a confessional into which the composer confided the fears and hopes he had to suppress in public. But most of all, the 15 quartets represent the music Shostakovich wanted to write at a given moment.

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NEW YORK TIMES

IT'S YOUR OWN FUNERAL SHOSTAKOVICH

By VIVIEN SCHWEITZER

Like a man writing his own obituary Dmitri Shostakovich composed his String Quartet No. 8 as a requiem for himself, weaving it together with an autobiographical motif consisting of the letters D-S-C-H.

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Mastery from the Jerusalem Quartet

Wigmore Hall, London, 16.2.2013 

Jerusalem Quartet (Alexander Pavlovsky, Sergei Bressler (violins), Ori Kam (viola), Kyril Zlotnikov (cello)).


WolfItalian Serenade

Mozart – String Quartet no.22 in B-flat major, KV 589

Smetana – String Quartet no.1 in E minor, ‘From my life’

The Jerusalem Quartet’s latest visit to the Wigmore Hall opened with a sunny performance of Wolf’s Italian Serenade. Full of life, there was, as ever with this quartet, never the slightest hint of routine. Mediterranean sun was to be felt – especially welcome in February – but quite rightly, this was sunlight as remembered from northern Europe. Solo playing, first from Kyril Zlotnikov’s cello, then picked up by his colleagues, was as fine as the ensemble work.

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Jerusalem Quartet with Alexander Melnikov, Bath Mozart Festival

Jerusalem Quartet with Alexander Melnikov

Assembly Rooms

The nondescriptly charcoal-suited members of the Jerusalem Quartet did not look like time travellers, unless it was as a visiting ensemble from East Germany, circa 1982. But appearances counted for nothing once the music started, and we were transported back to 1790 and Mozart’s String Quartet K589, the second of his three Prussian quartets.

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Concert review: Jerusalem Quartet reaches destination

There's a mathematical spinoff of a Zeno paradox that says you can never reach your destination. To get somewhere, you first must travel halfway to it, but from there you need to pass the midpoint of the remaining distance. You end up getting closer and closer, but never reaching the goal.

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Jerusalem Quartet brings big string sound, improvisatory gusto to its New Orleans debut

Sometimes an encore tells you everything about a band. That’s how it was in New Orleans on Wednesday, as the Jerusalem String Quartet closed a vibrant night of music making with the haunted slow movement from Debussy’s only quartet.

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Jerusalem Quartet opens chamber-music season with stellar performance

Come March 2013, the Jerusalem Quartet offers a complete cycle of Shostakovich’s 15 string quartets at Lincoln Center. Wednesday evening at Rackham Auditorium, Ann Arbor audiences got a small, but potent sample of the riches in store for New York when the Jerusalem Quartet opened the University Musical Society Chamber Series with two Shostakovich quartets.

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Jerusalem Quartet soars in Cleveland Chamber Music Society's new home

Hooray for the Cleveland Chamber Music Society -- and everyone else who savors music-making of intimate magnetism. After too many years enduring the acoustical haze of Fairmount Temple Auditorium in Beachwood, the society this season has taken up residence in the crystal-clear sonic environment of Plymouth Church in Shaker Heights.

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Schumann: Piano Quintet Op 44 & Piano Quartet Op 47 – review

Alexander Melnikov (piano), Jerusalem Quartet (Harmonia Mundi)

...The Jerusalem Quartet, who last month won their third BBC Music magazine award for a recent Mozart recording, are at the peak of their career, still youthful yet playing with the wisdom of 20 years' experience. In the Russian pianist Alexander Melnikov they have a collaborator of rare musical intelligence as well as virtuosity. Another award contender? I guess so.

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The Strad recommends : First-rate accounts of three varied Mozart quartets

For this sublime disc the Jerusalem Quartet chooses one 'Italian' work, one 'Haydn' and one 'Prussian'. The playing in the three-movement early piece is alert and very beautiful: the wistful Andante is touchingly done, at a plausible tempo.

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...Olympian Mozart who smiles through the tears.

The first time I listened to this, I loved it; the second time, not so much. But the third time, I loved it again. I think I've collected all but one of the Jerusalem Quartet's recordings, and every one of them has only further confirmed my belief that this Israeli ensemble is, technically at least, on a par with the Emerson and two or three other top string quartets before the public today.

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Jerusalem Quartet earns 2 standing ovations

...The program opened with Ludwig van Beethoven’s Quartet in G major (op. 18, no. 2). This piece is heard every year courtesy of the Slee Beethoven Cycle at the University at Buffalo and, as a result, has a familiarity factor built into it for area chamber music fans.

Particularly impressive in this performance was the way the quartet handled the second movement adagio, setting up a silken contrast to the bounce of the third movement scherzo.

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Jerusalem Quartet displays tonal beauty and artistic intensity at Four Arts

The Jerusalem String Quartet performed Sunday afternoon at the Society of the Four Arts In Palm Beach.

Few chamber ensembles produce the sheer beauty of tone of the Jerusalem String Quartet. The four young musicians, who performed Sunday at the Society of the Four Arts in Palm Beach, present a corporate tone that practically glistens, led by the seamless, honeyed playing of first violinist Alexander Pavlovsky.

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The Jerusalem Quartet presents a stunning concert on the Dallas Chamber Music series.

Review: Jerusalem Quartet | Dallas Chamber Music | Caruth Auditorium

Dallas — In a superb lesson in how to accommodate different musical styles without losing a unique musical voice, the Jerusalem String Quartet journeyed through an elegant Mozart, a fevered Brahms, and a brash Shostakovich. Dallas Chamber Musicpresented the group at Southern Methodist University's Caruth Auditorium on Monday evening as part of their outstanding series, which has been stellar this year.

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Jerusalem String Quartet exhibits dazzling coordination

This fine quartet, formed in 1993 when the members were conservatory students in Jerusalem, has made a series of recordings for Harmonia Mundi, none better than a pair of discs of Shostakovich quartets. No surprise, then, that Shostakovich’s eighth quartet stood out on this program, too, for the vigor of the interpretation, which kept one on the edge of one’s seat, and the overall quality of playing from all four musicians in dazzling coordination.

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Applaus für eine hörenswerte Interpretation

Das ,Jerusalem Quartett' ist den Kammermusikfreunden im Konzerthaus noch in guter Erinnerung: Im Rahmen einer Zeitinsel spielte das Ensemble sämtliche Streichquartette von Dmitri Schostakowitsch. Auch am Freitag gab es ein Quartett des russischen Komponisten zu hören: Die Nr. 4, sein Opus 83, gestalteten die vier weltweit aktiven Künstler in einer beeindrucken Interpretation.

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Bekenntnis in großer Geste

Wattens – Wie übermächtig Beethovens Schatten in den Komponierstuben nachfolgender Generationen noch stand, zeigt sich bis Johannes Brahms, der aus Scheu vor dem Streichquartett sich erst einmal – wie unverbindlich im Serenadenton – an Sextette heranmachte. Als er schließlich das Streichquartett erreichte, war Beethoven als Lehrmeister unverkennbar, der Schatten aber doch so weit verblasst, dass sich ein expressiver Bekenntniston Brahms’ entfalten konnte.

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Klare Virtuosität

„Jerusalem Quartet“ eröffnet in Wattens

Es ist eine eingeschworene Fangemeinde, die sich Dienstag Abend zum Auftakt des 8. Kammermusikfestivals „Musik im Riesen“ in den Swarovski-Kristallwelten einfand. Bis Sonntag gilt das Augenmerk den Streichquartetten. Den Auftakt machte das renommierte „Jerusalem Quartet“ mit Johannes Brahms.

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Jerusalem Quartet Harmonia Mundi Mozart

"Jerusalem Quartet Harmonia Mundi Mozart's string quartets do not divide quite as neatly into early, middle, and late periods as do Beethoven's. Nevertheless, the Jerusalem Quartet creates an instructive and highly enjoyable recording by choosing quartets widely spaced in the composer's career. The quartet play with a nicely blended sound and a keen appreciation for Mozart's lyricism and dramatic pacing, as much in the slow movement of the early quartet, K. 157, as in the late K. 589, a piece whose innovation is exceeded only by its compression. And the three finales move with a nimbleness that few groups can match."

— DAVID WEININGER, The Boston Globe March 6, 2011


The Jerusalem Quartet: Mozart

Passion, precision, warmth, a gold blend: these are the trademarks of this excellent Israeli string quartet. And the repertoire, drawn from three different periods of Mozart's life, is marvellous. From the teenage triumph of K157 to the mature subtleties of K589, each example extends the genre's boundaries. Highlights? The finesse of phrasing in K458's minuet; the exquisite tone of the ensemble's cello (formerly played by the great Jacqueline du Pré); and the slow movements that reach ever deeper into Mozart's heart. (Harmonia Mundi; out now)

- Geoff Brown, The Times February 5, 2011


Mozart: String Quartets In C, K157; In B Flat, K458; In B Flat K589

The Jerusalem Quartet adopts what you might call a full-on approach to Mozart. The tone is luscious and anything but vibrato shy. The speeds are unpressured, and the players like to convey the way their four lines mesh together, producing rich blends of sound, and capturing the internal frictions of passing moments in a way that makes the music come across as always eventful. Some listeners will doubtless find the manner a bit too measured, and perhaps a bit too rich, especially in the Quartet in C, K157, written sometime before the composer's 17th birthday. But the playing avoids the pitfall of sounding sweet and cloying. It's just painstakingly thorough, carrying the message that every moment can be made to count, that even the slightest detail can be engrossing. And in the two later works that pays rich dividends.

- Michael Dervan, Irish Times, 4 February 2011


Every deft switch of mood is caught to near-perfection

Every deft switch of mood is caught to near-perfection "Their wonderfully full and vibrant sound is channelled through rhythms and phrasings that are crisp, tight-reined, and naturally flowing. Every deft switch of mood is caught to near-perfection, especially in those roguish Presto finales. And the slow movements have a dry-eyed warmth of expression that sounds just right."

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Miraculous Haydn

Erik Levi applauds the Jerusalem Quartet's latest recital

The Jerusalem Quartet's latest recording of Haydn Quartets is an absolute triumph. Their playing has everything you could possibly wish for. Miraculously honed intonation and perfect ensemble is matched troughout by an innate understanding of Haydn's mercurial and immensely varied musical language. A veiled sence of melancholy hangs over the opening movement of the F minor Quartet, the interpretation is emphasising its sombre nature and its unexpectedly adventurous modulation. The fugal Finale, on the other hand, is all nervous energy, articulated with tremendous rhythmic verve.

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Strad Magazine

The Jerusalem is one of the most exciting string quartets to emerge for many years, its members' outstanding technical accomplishment and musical insight belying their youth.

...what distinguishes this particular quartet is its sense of refinement and natural feeling for line, coupled with a fever-pitch intensity and commitment to the music. Musical electricity may be unfathomable, but one thing is for sure - they have it.

 - The Strad, Jun 26 2009


Jerusalem Quartet : Thrilling

If Haydn himself were able to listen to his celebration this year, he would undoubtedly be thrilled with the Jerusalem Quartet`s readings of his music. This ensemble performs as one mind, yet within its unity of purpose the individual strands are allowed to weave their way into the narrative.

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Vancouver Sun

All of them only in their early 20s, one can only imagine how far they'll go. It was as fine a night of string quartet playing as I've heard in a long time. Normally it takes years and years to develop such a blend of voices and such a spectrum of colours. They have loads of energy and passion and the control, finesse and sophistication to go with it.

Vancouver Sun, Apr 17 2009


Jerusalem Quartet's Haydn recital is a revelation

As part of Wigmore Hall's Haydn celebrations, on Tuesday the Jerusalem Quartet played four of his 68 quartets, including the early, melancholy Op 20 No 5 in F minor and the ravishing, expansive Op 77 No 1 in G major. To describe exactly how these players achieved such mesmerising results - an imaginative use of raw, unison down-bows in the trio of Op 74 No 3, "The Rider"; the impeccable phrasing and intonation displayed across the group - risks getting into the realms of comparing fetlocks or crankshafts.

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This really is exceptional musicianship.

The Jerusalem Quartet has won many fans in Australia during its residency with Musica Viva and it's easy to see why. These four young men - Alexander Pavlovsky and Sergei Bresler on violin, Amichai Grosz on viola and Kyril Zlotnikov on cello - have been playing together for almost half their lives.

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Quartet delivers top performance

Seat prices may have been high for the Jerusalem Quartet in the Glenroy Auditorium but it was worth every dollar to hear such a superb group.

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String Quartets do not come any better than the Jerusalem

A few bars into Smetana's From my Life Quartet, it was clear this was an event, the likes of which could not be equalled in Wigmore Hall or the Lincoln Centre. String quartets do not come any better than the Jerusalem.

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A quartet that belongs in a higher realm

String quartet fatigue is bound to set in this time of the season. So far, the Philadelphia Chamber Music Society has brought in 12, all quite reputable and some truly exceptional. Overlooking the Philadelphia debut of the Jerusalem Quartet on Monday would have been easy but unfortunate, since this extraordinary foursome arrived at the Kimmel Center's Perelman Theater in a zone of its own.

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Andante.com

Its most immediately striking quality is the vibrancy, flexibility and homogeneity of its sound: the first violinist's tone in particular is extraordinarily beautiful and intense. The players are technically extremely good, their ensemble is flawless and they can weave a seamless tapestry of lines and voices. Everything they do is carefully planned and worked out to the last detail, but they have succeeded in balancing perfect control with passionate involvement, youthful exuberance, and spontaneous expressiveness - a rare feat that gives their playing a feeling of total security as well as a powerful emotional impact.

- Andante

 

Der Tagespiegel

The best-trained string players with Alexander Pavlovsky, who had a particularly colourful sound, correspond with each other with instinctive sureness.It was magical playing, which also caressed the soul and made this a very pleasant evening concert.


The Independent (UK)

What variety of colour the Jerusalem Quartet brought, characterfully underplaying the music; the cellist Kyril Zlotnikov was mesmerising


The Australian

With great lustre and control, these were near-definitive performances ... the Jerusalem Quartet's performances are even more magnificent this time 


The Guardian

absolute assurance by these young players, their confident attack and nigh-on flawless ensemble playing, impressive throughout its substantial span


Miami Herald

The Jerusalem Quartet, one of the world's finest young chamber ensembles ... The group's splendid musical rapport, shining tone and bold phrasing were distinctive


South Florida Sun-Sentinel

the Jerusalem Quartet's tensile energy and concentrated intensity made for spirited and often riveting music making 


Newsday (New York)

for the young Jerusalem Quartet, whose concert in Sayville Saturday night offered proof positive that this foursome might be a breakthrough group The Jerusalem is good - really good.


Daily Telegraph

My personal favourite among the four (quartets) for their impeccable blend, and the wonderful tone of the leader, Alexander Pavlovsky, which is best described as a fiery sweetness.Since they formed at the Jerusalem Music Centre in 1993 their career has been a triumphal ascent.


Daily Telegraph

My personal favourite among the four (quartets) for their impeccable blend, and the wonderful tone of the leader, Alexander Pavlovsky, which is best described as a fiery sweetness.Since they formed at the Jerusalem Music Centre in 1993 their career has been a triumphal ascent.


The Strad

Whenever Shostakovich gives these fine players a chance to sing, they touch the heart in this music as very few before