The New York Times
By Vivien Schweitzer

Bartok has been a staple of the Takács Quartet’s repertory for decades. The group’s affinity for his music was evident again during a superb evening at Alice Tully Hall on Saturday.

The concert was the first of three in which the ensemble is pairing Bartok’s six String Quartets with Beethoven’s Opus 18 Quartets. The program began with Bartok’s first work in the genre, written when he was experiencing unrequited love for a student at the Budapest Academy of Music.

The New York Times
By Vivien Schweitzer
October 18, 2010

Many composers, Stravinsky notably among them, have been inspired by earlier styles and works, which they weave through a contemporary prism. Daniel Kellogg is a current example, reimagining the scores of others in his works.

Mr. Kellogg's striking "Soft Sleep Shall Contain You: A Meditation on Schubert's 'Death and the Maiden' " for string quartet, had its New York premiere at the 92nd Street Y on Saturday evening, and the rich performance by the Takács Quartet revealed its subtleties. His intelligently wrought and harmonically intriguing work, which he wrote for the Takács Quartet, which is in residence at the University of Colorado at Boulder, where Mr. Kellogg teaches, echoes a famous quartet by Schubert, opening with chords that slowly unfold and evoke the song "Death and the Maiden."

London Guardian
By Andrew Clements

Pre-empting next year's bicentenary, Schumann has been the featured composer in the Takács Quartet's London appearances this season. Having dispatched the string quartets, they branched out into chamber music with piano for their final concert, joining Marc-André Hamelin for a forthright account of the Piano Quintet.

In principle, the irrepressibility of the quintet suits Hamelin's attitude to Schumann perfectly, and in large stretches of the work the pianist's clarity paid real dividends when combined with the Takács' tight ensemble. Hamelin was in his element in the scherzo, for instance, and launched the finale's brief flirtation with a fugue with tremendous gusto. However, elsewhere there was the feeling that he was unwilling to allow the music the expressive latitude and flights into fantasy that the quartet seemed to sense it needed.

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