In May 2015, the DSQ joined internationally renowned soprano Hila Plitmann to record Danielpour's Quartet no.7 for soprano and string quartet, a work specially commissioned for the DSQ. Also on the disc are Quartets nos. 5 and 6, all produced by Grammy Award winner Judith Sherman, who produced the last two recording projects of the DSQ.
“an extraordinary performance that can stand up against any other”
“an exemplary presentation of some marvelous music”
“un disco la cui qualità riesce a proporre la freschezza affascinante della cultura musicale germanica come nuova, come se non si fossero mai ascoltate prima”
“should leave listeners almost breathless…a vibrancy and attention to detail...strong individuality and… vitality”
“We encounter here an extraordinary violinist, with an overwhelming technique and a musicality; the results are excellent, with little or nothing to envy the greatest interpretations that could have ever been recorded.”
“their lofty musicianship dwarfs their profound scholarship”
“Hace muy poco descubrí esta maravilla...dos extraordinarios instrumentalistas que uniendo su talento logran...algo genial.”
“ There are so many delightful details to savour that one hardly knows where to begin...a most rewarding Mozart cycle”
“the secret here...always let curiosity be a constant inspiration. If Tomas Cotik ever revisits these works on record it will be fascinating to hear the results, but it's hard to see how they could be better that this”
“Supersonic Award winner. Tomas Cotik’s Piazzolla is carnal, passionate and nowhere easy-going. Together with his group he has produced a riveting CD.”
“A neglected stash of unrecorded Schubert”
“a first-rate set of these of Mozart sonatas”
“violinist Tomas Cotik is always up for a new challenge”
“Un disco ideal”
“Anche nell’interpretazione delle sonate di Mozart si evidenziano l’ottima cavata e la perfetta tecnica di Cotik negli staccati particolarmente brillanti.”
“I find the Cotik and Lin performances most interesting and the sound on their disc is excellent”
“un violinista excelente... que recoge una forma rigurosa, natural y fuera de lo común de entender e interpretar la música”
““Legacy” es, sin dudas, un álbum para emocionarse y escuchar continuamente. Excelencia pura. Imprescindible!”
“I’ve had a listen to a few alternatives…including Isaac Stern with Daniel Baremboim and Lydia Mordkovitch, but this duo pretty much ticks all the boxes”
“this is clearly a team to watch. I am sure we will be hearing good things from them in the future”
“Overall, these two discs featuring Cotik must be regarded as among the finest performances for their consistent artistry and idiomatic grasp”
“This album...immediately stands out as a recording of excellent quality. Equipped with a refined technique, Cotik interprets these masterpieces of Bach's genius with a deep sense of style thanks to an attention to phrasing ”
“One imagines the Nuevo tango master would be as captivated as any listener by such exquisite performances.”
“clarity and tonal opulence rare in recordings of violin music”
“among the very best Piazzolla albums”
“there is no question that this disc is, by some distance, Naxos's best Piazzolla recording ”
“excellent violin playing...extremely enjoyable interpretations of music that I love”
“a musician who prepares thoroughly and has great respect for the music he performs”
“conviction, commitment, diplomacy, and character”
“The Piazzolla album is not just Cotik as brilliant interpreter, but also as creative mind.”
“Las versiones son óptimas por la compenetración estilística del dúo y la prestancia instrumental del admirable violinista”
“Some of the music is sultry while other works are fast, rhythmic, and ornamented to show the exquisite virtuosity of Cotik”
“If you love the solo violin, you won't find a better recording to suit your tastes”
“outstanding from the very beginning”
“Cotik vanta un violinismo costantemente brillante e un colore di suono caldo e avvolgente”
“Un disco revelador de la maestría de los jóvenes intérpretes que lo firman: Tomas Cotik y Tao Lin.”
“I marvel at the technical skill which effortlessly encompasses these deeply contrasting styles....a technical as well as expressive master stroke”
“exceptional...Piazzolla can be played differently than this, but provably not better.”
“I highly commend Mr. Cotik for his innovative interpretations and I hope many future audiences will experience his musical excellence”
“This is an excellent recital. I enjoy the Piazzolla Tango Etudes more as played by Cotik than by anyone else. ”
“this superbly produced Schubert disc…comes warmly commended”
“None of these pieces has ever sounded quite like this before.”
“His pure sound, perfect intonation and fast tempos mean that Bach’s fiendishly difficult challenges become more exposed, yet he never misses a beat. The recording….captures the golden glow of his violin… in sound that is honest and clean”
“Cotik and the orchestra provided impressive advocacy for a multifaceted work that deserves to be heard more often. Cotik seamlessly handled the frequent changes in mood and adroitly traversed the work’s myriad technical challenges while always keeping the focus on the music.”
“Cotik phrases this music with such feeling, making you wonder if it could possibly sound better in any other performance.”
“una nueva forma de mirar, entender y percibir la música de diferentes épocas”
“Evocative concert of Jewish classical music”
“this is one of the great Piazzolla discs, and in perfect sound quality, I urge you to buy it.”
“My first chamber choice for the year. ”
“NOMINATED FOR THE INTERNATIONAL CLASSICAL MUSIC AWARDS 2018”
“there is no question but that this is the most exciting rendition of these works I’ve ever hear... this is now my benchmark performance of these works”
“If anyone's up to the task, it's Cotik”
“Cotik Kicks Butt in Piazzolla! A wild and wonderful CD.”
“Everyone who plays these works should hear these exemplary performances...you will never hear these Telemann Fantasias played so well ”
“I was immediately impressed by their virtuosity and also their understanding of Piazzolla’s music. I was anxious to see them perform in person”
“wonderful album…impressive for the elegance and sensitivity of the interpretations”
“brilliant Argentinean violinist”
“Cotik and Tao Lin have…honored not only their professions as musicians, but the memory and work of Franz Schubert”
“one comes away from the recording dazzled by Cotik's musicianship and technique; one is also struck by the agility of his execution, his expert command of tempo and intonation, and his ability to consistently maintain the highest level of performance ”
“unusual depth and broad compass...absolutely brilliant... unmistakable vitality...optimally recorded”
“un trabajo de mucha calidad, por la originalidad de los arreglos y especialmente porque se trata de un excelente instrumentista”
“an excellent violinist”
“bemerkenswert, kunstvolle und expressive Interpretationen...auf hohem Niveau und den jeweiligen Stilen perfekt angepasst”
“The BBC Music team’s current favourites”
“a treat from start to finish”
“laudable level of technical accuracy…tenderness and warmth”
“short this is a great recording if you value warmth and sweetness in Mendelssohn. Here, though, nothing is forced, and, as I say, the world seems a better place.”
“Cotik makes Kreisler seem almost smarmy, Isabelle Faust almost mannered, and Julia Fischer as though she's filed down the detail”
“It is the result of many years of experience, full attention, research and decision-making....it is a recording of incontestable beauty...an adventure that displays a journey of absolute love for the music of J.S. Bach”
“Cotik transcends even the profoundly meditative”
“intelligent and sensitive...glories in...colorations and shared emphasis”
“Argentinean violinist Tomás Cotik... is not just another violinist. He is a passionate musician who always seems to get under the skin of the music he performs”
“excellent style, which is not frequently found”
“The joyful virtuosity and stylish musicianship that Tomas Cotik and Tao Lin brought to their superb cycle of Schubert’s violin-and-piano works for the Centaur label happily permeate their cycle of Mozart’s sonatas”
“Tomás Cotik’s deeply analytical playing adds to an exhilarating display of the musical wonders the composer saw in the violin”
“absolutely impeccable, with intonation in the centre of every note, and his left hand flying around the fingerboard with remarkable agility”
“His interpretation of Bach’s sonatas and partitas his newest album in should add a notch to his reputation as a stellar violinist”
“recreating the visceral charge of Piazzolla’s legendary quintet concerts and recordings”
“true treasure...one of the latest gems to emerge from the season”
“The technical qualities of the recording - which is on the NAXOS label, by the way - are excellent.”
Compuestos entre 2004 y 2014, los Cuartetos para cuerda ns. 5 a 7 de Richard Danielpour (n. 1956) trascienden con sus inquietantes subtítulos las ideas que se hace el oyente de estas evocadoras músicas.
I found Quartet No. 5 the best of the three, with strong echoes of Barber, Hindemith, and Britten woven into the musical fabric. Danielpour likes to focus on a single rhythmic idea and work it through. The Delray String Quartet is a fine ensemble
The Delray Quartet plays nobly
The steady, spectacular performance of the Delray String Quartet is a revelation throughout this recording, whether in the moody, delicate Moderato e triste of No. 6—subtitled ‘Addio’—or the metaphysical peril implied by the cascading strings heard in the second movement of No. 7, AKA ‘Psalms of Solace’. …Is this an original concept? No, not particularly. But when you sound as good as Plitmann does, even angels begin to take notice.
the Delray Quartet, whose advocacy is totally committed
There’s also American string quartet music from the current century on Richard Danielpour String Quartets Nos.5-7, performed by the Delray String Quartet in the Naxos American Classics Series (8.559845 naxos.com).
String Quartet No.5, “In Search of La vita nuova” (2004) deals with the composer’s longstanding relationship with Italy. String Quartet No.6, “Addio” (2009) deals with the string quartet as a metaphor for family, and how families are eventually broken apart through distance, time and loss. Both works were written in Northern Italy, and are about what Danielpour calls “letting go.”
String Quartet No.7, “Psalms of Solace” (2014) is about a “search for the Divine.” The last movement features a soprano part written specifically for Hila Plitman, the excellent soloist here.
All three works are very much in a late-20th-century style, strongly tonal and very accessible, and with some truly beautiful writing and lovely textures.
The Delray String Quartet are wonderful advocates for Richard Danielpour’s music. Their performance is excellent throughout. The soprano Hila Pitmann is in excellent voice and a perfect foil for the quartet. She makes Danielpour latest quartet my favourite work presented here. Hopefully he will go on to compose further quartets.
Meisterwerke zeitgenössischer Kammermusik...Es ist eine sehr atmosphärische und gefühlvolle Musik, die genau wie jene des Fünften Quartetts vom ‘Delray Quartet’ spannend und rhetorisch gespielt wird...Hila Plitman singt ganz bezaubernd, und das ‘Delray String Quartet’ überzeugt hier wie das ganze Programm hindurch mit einem engagierten und hoch sensiblen Musizieren. Großartige Kammermusik, großartig gespielt!
Richard Danielpour’s String Quartets Nos. 5 – 7 are masterworks. Written in a contemporary neo-romantic style the music is immediately appealing in these outstanding performances by the Delray String Quartet.
The Quartet No. 7, which Danielpour has subtitled Psalms of Solace, gets its world premiere Sunday when the Delray String Quartet debuts it at the Mainly Mozart Festival in Coral Gables. The Cuban-born soprano Maria Aleida will be the soloist in the fourth and final movement. Although this will be the premiere, the Delray recorded the work last week at Miami’s Hit Factory with Grammy-winning producer Judith Sherman for a disc on Naxos of Danielpour’s Fifth, Sixth and Seventh quartets; the soloist on the recording is the Israeli soprano Hila Plitmann.
The composer has said in the past that he wanted the Seventh to be his last string quartet... and his entire quartet output, has a special meaning for him.
Sunday solace from the summer heat
The world premiere of Richard Danielpour’s String Quartet No. 7 (Psalms of Solace), performed by the Delray String Quartet and soprano Maria Aleida, was the evening’s pièce de resistance. One of the most prolific of American composers in all musical genres, Danielpour is specially known for his chamber pieces, which grant preeminence to the human voice as an expressive vehicle... The work enables the various string instruments to show off in succession and ends with the inclusion of voice as the fifth string. Maria Aleida’s voice came through clear and sparkling, differentiating itself from the framework created by the violins, viola and cello. It should be noted that the Delray ensemble is currently recording the a series of Danielpour quartets.
Delray SQ, Aleida deliver impressive Danielpour at Mainly Mozart
For two centuries or more, the string quartet has been the favored medium for a composer’s most intimate, profound thoughts. In his series of quartets, the American composer Richard Danielpour has explored themes of the Holocaust (No. 3, Psalms of Sorrow) and farewell (No. 6, Addio), and for his Quartet No. 7, which received its world premiere May 31 in Coral Gables at the Mainly Mozart Festival, he has turned to a more hopeful message of human potential.The Delray quartet, which had the recorded the piece the week before with producer Judith Sherman, played with precision and care, keeping the half-light of the music steady. incantatory lines, in a cannily scored accompaniment that has texture but still lets the singer have the spotlight. Danielpour’s Seventh Quartet is a well-constructed, deeply felt piece that would make a good addition for a string quartet ensemble looking for some programming variety and some easy-to-grasp contemporary composition. It seems to me that the fourth movement is actually too short to make the best impact it could, even given whole slow movement before it. It has a Mahlerian pace from the beginning of the Adagietto, and it’s a pace that calls for serious breadth.