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Mendelssohn Quintets
Schubert Duos
Schubert Sonatinas
DSQ Quartet live
Kenneth Fuchs
Glazunov & Franck
Danielpour: Quartets
Mendelssohn Quintets

MENDELSSOHN w. James DUNHAM

Tomas Cotik, violin

Keith Redpath, violin

Jennifer Snyder Kozoroz, viola

JAMES DUNHAM, guest violist

Emmanuel Lopez, cello


Centaur Records releases an album with Mendelssohn string quintets recorded by the Harrington String Quartet in 2009 (Tomas Cotik, first violin; Keith Redpath, second violin; Jennifer Kozoroz, viola; Emmanuel Lopez, cello), with guest violist James Dunham, from the legendary Cleveland Quartet, and a Grammy Award-winning team: producer Blanton Alspaugh and sound engineer John Newton. The CD includes Mendelssohn’s String Quintets No.1 in A Major, Op. 18 and No.2 in B-flat Major, as well as the Capriccio for String Quartet Op. 81.


Mendelssohn String Quintet in A Major op. 18


Mendelssohn String Quintet in A Major op. 18 At the Mendelssohn home, performing chamber music was an integral part of its ethos. In the 1820’s, the family established a tradition of Sunday afternoon musicales where all the Mendelssohn children were featured as performers. These were also among the most important social events in the cultural life of Berlin. It was not unusual for musical and literary luminaries of the day, such as Karl Maria von Weber, Ludwig Spohr, Heinrich Heine and E. T. A. Hoffman, to be invited to the Mendelssohn’s for an afternoon of music. At these soirees, they all expressed admiration for young Felix’s musical genius and were treated to some of his most notable early compositions. Mendelssohn composed his A major String Quintet Op. 18 in 1826, the same year that also saw the composition of his Octet Op. 20 and the Overture to A Midsummer Night’s Dream. Following the tradition established by Mozart, Mendelssohn used the same instrument combination by adding an extra viola to the string quartet format. The work went through significant changes prior to being published in 1832.


Mendelssohn String Quintet in B flat Major Op. 87


Nineteen years would pass before Mendelssohn composed his second string quintet. By this time, he has become one of the most famous composers in Europe. He has written the bulk of his string quartet oeuvre as well as the “Scottish” and “Italian” symphonies and several volumes of “Songs without Words”, to name a few. His performances in Europe have brought him legendary status as one of the finest virtuoso pianists of the age. As conductor, his prestige has grown ever since his revival of Bach’s St. Mathew Passion in Berlin in 1829. He has traveled to England several times to perform and conduct. He has met Robert and Clara Schumann and developed a meaningful friendship and professional relationship with them. In 1843, Robert Schumann assisted him in establishing the Leipzig Conservatory developing a curriculum of studies worthy of the most prestigious academies


in Europe. He has married Cécile Jeanrenaud, and has begun to raise a family. Composed in 1845, the B flat quintet is among the finest of his chamber works. Although its conception is texturally more orchestral than the A Major, it retains similar formal and structural qualities as its predecessor.



Harrington String Quartet


A gem in the cultural landscape of West Texas, the Harrington String Quartet was established by a generous gift from the late Sybil B. Harrington to benefit the Texas Panhandle community. From its founding in 1981, the quartet has brought “stellar credentials” and “a refined sense of ensemble and musical integrity” to performances across the nation and internationally. During the summer of 2014, the quartet toured Europe as performing guests at the International Music Festival of Toledo (Spain), Altmark Festspiele (Germany), and the International Music Festival of the Adriatic (Italy). Upon returning to the USA, they were featured as Distinguished Guest Artists at the Piano Texas Festival in Fort Worth, TX. Highlights from past seasons include a New York debut in Carnegie’s Weill Hall and the PBS documentary A Sound Collaboration – The Harrington String Quartet. The quartet has also enjoyed collaborations with world-renowned artists David Shifrin, Pepe Romero, James Dick, William Preucil, James Dunham, Robert Levin, Alon Goldstein, Guy Yehuda, Arthur Rowe, and members of the Cavani, Miró, and Pro Arte String Quartets. For over thirty years, the quartet has delighted audiences with their finely blended sound and heart-felt interpretations of a wide spectrum of repertoire, which ranges from Bach and Purcell to Bartok and Crumb. Harrington String Quartet’s collaborative recording with the Phoenix Chorale, Northern Lights, was distinguished as iTunes’s Best Classical Vocal Album of 2012. In 2005, the quartet also released a Grammy nominated album of works by American composer Daniel McCarthy. The Harrington String Quartet is in residence as string faculty at West Texas A&M University.


James Dunham


James Dunham’s rich background includes having been violist of the Grammy Award–winning Cleveland Quartet and the Naumburg Award-winning Sequoia Quartet. He frequently collaborates with the American, Jupiter, Pacifica, Takács, and Ying Quartets and is currently violist of the Axelrod Quartet, in residence at the Smithsonian Institute in Washington, D.C. This past season he performed in Seoul Korea and returned to the jury of the Osaka International Chamber Music competition. An advocate of new music, Mr. Dunham has premiered and recorded Libby Larsen’s Viola Sonata (2001) and Sifting Through the Ruins (2005) for viola, mezzo-soprano (Susanne Mentzer) and piano. With the Diotima Quartet of France he recently premiered Richard Lavenda’s Viola Quintet, and his justreleased recording of Judith Shatin’s Glyph, for solo viola and piano quintet, has received rave reviews. The Cleveland Quartet’s Telarc recording of John Corigliano’s String Quartet, written for their final tour, won the 1996 Grammy for Best Chamber Music Performance. Currently Professor of Viola at Rice University’s Shepherd School of Music, Mr. Dunham formerly taught at the New England Conservatory and the Eastman School of Music. During the summer he teaches and performs at numerous festivals, including the Aspen Music Festival and School, Sarasota, La Jolla, Amelia.

Info

Harrington String Quartet & James Dunham


Recorded on May 17-19, 2009 at the Globe-News Center, Amarillo, Texas. Produced by Blanton Alspaugh. Engineered by John Newton. 


Felix Mendelssohn


String Quintet No.1, Op.18

1.  Allegro con moto

2.  Intermezzo. Andante sostenuto

3.  Scherzo. Allegro di molto

4. Allegro vivace


String Quintet No.2, Op.87

4.  Allegro vivace

5.  Andante scherzando

6.  Adagio e lento

7.  Allegro molto vivace


Capriccio in E minor Op. 81 No 3

9. Andante con moto (E minor), Op.81


Recorded on May 17-19, 2009 at the Globe-News Center, Amarillo, Texas. Produced by Blanton Alspaugh. Engineered by John Newton.

Mendelssohn Quintets

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“a musician who prepares thoroughly and has great respect for the music he performs”

The Palm Beach Arts Paper

“clarity and tonal opulence rare in recordings of violin music”

Fanfare Magazine

“Cotik Kicks Butt in Piazzolla! A wild and wonderful CD.”

THE ART MUSIC LOUNGE

“a work of high quality, for the originality of the arrangements and especially because he is an excellent instrumentalist  ”

REVISTA RITMO

“a new way of looking at, understanding and perceiving music from different eras”

SONOGRAMA MAGAZINE

“I highly commend Mr. Cotik for his innovative interpretations and I hope many future audiences will  experience his musical excellence”

Gary Burton

“conviction, commitment, diplomacy, and character”

The Strad

“Cotik proves to here to have conquered an impressive variety of repertoire, already now much wider than what is usual today.”

CONCERTO - DAS MAGAZIN FÜR ALTE MUSIK

“None of these pieces has ever sounded quite like this before.”

INFODAD.COM

“A neglected stash of unrecorded Schubert”

NORMAN LEBRECHT

“remarkable, artistic and expressive interpretations ... at a high level and perfectly adapted to the respective styles  ”

PIZZICATO

“among the very best Piazzolla albums”

David Denton for David’s Review Corner

“Cotik makes Kreisler seem almost smarmy, Isabelle Faust almost mannered, and Julia Fischer as though she's filed down the detail”

Fanfare Magazine

“His interpretation of Bach’s sonatas and partitas his newest album in should add a notch to his reputation as a stellar violinist”

NORTHWEST REVERB

“the brilliant musicians’ ability to shift tempos...gracefully wring emotion from heartbreaking ballad tempos or generate fireworks with breakneck riffs...”

DOWNBEAT MAGAZINE

“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.”

SOUTH FLORIDA CLASSICAL REVIEW

“Cotik scales Bach’s solo mountain with skill. His intricate yet soulful take is assured without ever being showy.”

BBC Magazine

“intelligent and sensitive...glories in...colorations and shared emphasis”

Fanfare Magazine 

“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”

MusicWeb International

“Editor's Picks”

DOWNBEAT MAGAZINE

“Cotik has a consistently brilliant violinism and warm, enveloping sound  ”

GBOPERA MAGAZINE

“this is clearly a team to watch. I am sure we will be hearing good things from them in the future”

MusicWeb International

“I marvel at the technical skill which effortlessly encompasses these deeply contrasting styles....a technical as well as expressive master stroke”

CONTEMPORARY RECORD SOCIETY

“uplifting quality”

MusicWeb International

“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.”

AMERICAN RECORD GUIDE

“a first-rate set of Mozart sonatas”

​THE ARTS MUSIC LOUNGE

“brilliant Argentinean violinist”

David Denton for David’s Review Corner

“Supersonic Award winner. Tomas Cotik’s Piazzolla is carnal, passionate and nowhere easy-going. Together with his group he has produced a riveting CD.”

Pizzicato

“outstanding from the very beginning”

Fanfare Magazine

“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”

THE WHOLENOTE MAGAZINE

“Everyone who plays these works should hear these exemplary performances...you will never hear these Telemann Fantasias played so well  ”

American Record Guide

“their lofty musicianship dwarfs their profound scholarship”

Fanfare Magazine

“Cotik’s performance is powerful and technically brilliant, the intonation always flawless,... fearless round, and well-balanced”

CONCERTO - DAS MAGAZIN FÜR ALTE MUSIK

“laudable level of technical accuracy…tenderness and warmth”

The Palm Beach Arts Paper

“Comparisons are inevitable; on my shelves are the Grumiaux- Haskil team, the Stern-Barenboim combination, Szymon Goldberg and Radu Lupu, and Zukerman and Neikrug readings. The Cotik-Lin duo can take its place among those earlier esteemed ensembles with heads held high.”

STRINGS MAGAZINE

“An ideal disc”

SONOGRAMA MAGAZINE

“phenomenal technique”

Musical Toronto

“The BBC Music team’s current favourites”

BBC MAGAZINE, Niel McKim

“excellent violin playing...extremely enjoyable interpretations of music that I love”

American Record Guide

“Cotik phrases this music with such feeling, making you wonder if it could possibly sound better in any other performance.”

Classical Net

“The technical qualities of the recording - which is on the NAXOS label, by the way - are excellent.”

Robert W. Plyer, THE OBSERVER

“Evocative concert of Jewish classical music”

The Washington Post

“an excellent violinist ... who picks up a rigorous, natural and unusual way of understanding and interpreting music  ”

Docenotas

“A revealing album of the mastery of the young performers who sign it  ”

REVISTA DOCENOTAS

“I find the Cotik and Lin performances most interesting and the sound on their disc is excellent”

Maria Nockin – Fanfare Magazine

“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”

SONOGRAMA MAGAZINE

“NOMINATED FOR THE INTERNATIONAL CLASSICAL MUSIC AWARDS 2018”

ICMA

“ There are so many delightful details to savour that one hardly knows where to begin...a most rewarding Mozart cycle”

Gramophone Magazine

“an exemplary presentation of marvelous music”

The Palm Beach Arts Paper

“a record which quality manages to propose the fascinating freshness of Germanic musical culture as new, as if the music had never been heard before  ”

GBOPERA MAGAZINE

“it is a fact that the enthusiastic performance of Argentine Tomás Cotik and the way he captures the audience is captivating”

GRAMOFON

“there is no question that this disc is, by some distance, Naxos's best Piazzolla recording”

MusicWeb International

“Cotik’s performances are full of color, possess an elegant virtuosity and above all achieve the lyrical refinement that springs from a music that catches us by its rhythmic and melodic seduction  ”

REVISTA MUSICAL CATALANS

“an excellent violinist”

Michael Tilson Thomas

“If you love the solo violin, you won't find a better recording to suit your tastes”

OBSERVER TODAY

“brilliantly performs the complete series of sonatas composed by Mozart ... a masterful musical compendium ..... an essential, addictive set. An almost hypnotic musical journey  ”

CULTURALMENTE INCORRECTO

“Cotik transcends even the profoundly meditative”

FANFARE MAGAZINE

“The versions are optimal due to the stylistic understanding of the duo and the instrumental excellence of the admirable violinist.  ”

REVISTA SCHERZO

“Tomás Cotik’s deeply analytical playing adds to an exhilarating display of the musical wonders the composer saw in the violin”

GRAMOPHONE MAGAZINE

“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”

GRAMOPHONE MAGAZINE

“absolutely impeccable, with intonation in the centre of every note, and his left hand flying around the fingerboard with remarkable agility”

David Denton for David’s Review Corner

“excellent Piazzollean style, which is not frequently found”

Daniel Binelli

“If anyone's up to the task, it's Cotik”

TEXTURA

“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”

THE ART MUSIC LOUNGE

“unusual depth and broad compass...absolutely brilliant... unmistakable vitality...optimally recorded”

Audio Video Club of Atlanta

“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.”

RITMO MAGAZINE

“perfectly conceived”

Fanfare Magazine

“Astor Piazzolla and its main interpreter is the Argentine violinist Tomas Cotik's ...musical maturity joins that way of feeling one's roots, which gives the experience of remoteness  ”

REVISTA TEATRO COLON

“Cotik…honored not only his professions as musician, but the memory and work of Franz Schubert”

The Palm Beach Arts Paper

“urgently recommended”

Fanfare Magazine

“I was immediately impressed by their virtuosity and also their understanding of Piazzolla’s music. I was anxious to see them perform in person”

Gary Burton

“Cotik never indulges in violinistic brilliance at the expense of music, but he sounds consistently brilliant nevertheless.”

Fanfare Magazine

“Some of the music is sultry while other works are fast, rhythmic, and ornamented to show the exquisite virtuosity of Cotik”

FANFARE MAGAZINE

“wonderful album…impressive for the elegance and sensitivity of the interpretations”

John Terauds – Musical Toronto

“'What a Performance 2020' Award Winner”

THE ART MUSIC LOUNGE

“this superbly produced Schubert disc…comes warmly commended”

MusicWeb International

“should leave listeners almost breathless…a vibrancy and attention to detail...strong individuality and… vitality”

Fanfare Magazine

“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”

Gramophone Magazine

“My first chamber choice for the year.   ”

MUSICWEB INTERNATIONAL Recordings Of The Year 2013

“His amazing technical skill and artistic know-how...create an indelible interpretation of Bach’s music...Cotik’s combines impeccable technique and an intuitive artistry to fashion a mesmerizing interpretation of these pieces.”

AUDIOPHILE AUDITION

“exceptional...Piazzolla can be played differently than this, but provably not better.”

​DOWNBEAT MAGAZINE

“This is an excellent recital. I enjoy the Piazzolla Tango Etudes more as played by Cotik than by anyone else. ”

American Record Guide

“ Also in the interpretation of Mozart's sonatas, Cotik's excellent performance and perfect technique stand out in the particularly brilliant articulations  ”

GBOPERA MAGAZINE

“a treat from start to finish”

Musical Toronto

“violinist Tomas Cotik is always up for a new challenge”

Julia Amacher – American Public Media

“Warmly and sensitively played with beauty of tone, Cotik... captures the essence of Mozart in finely spun tone and sensitive contrasts in dynamics, rhythmic integrity, and clear phrasing. Their deeply felt rendition of this purest of music, from the carefree early sonatas to the more dramatic later opuses, is a model of transparency and genuine emotion. ”

STRINGS MAGAZINE

“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”

THE ART MUSIC LOUNGE

“Overall, these two discs featuring Cotik must be regarded as among the finest performances for their consistent artistry and idiomatic grasp”

Classical Net

“recreating the visceral charge of Piazzolla’s legendary quintet concerts and recordings”

South Florida Classical Review

“true treasure...one of the latest gems to emerge from the season”

John Terauds – Musical Toronto

“without a doubt, an album to get excited and listen to continuously. Pure excellence. Essential!  ”

CULTURALMENTE INCORRECTO

“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 ”

GBOPERA

“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 ”

TEXTURA

“an extraordinary performance that can stand up against any other”

TEXTURA

“Very recently I discovered this marvel ... two extraordinary instrumentalists who, combining their talents, achieve ... something great.  ”

Luis Andarcia, VENUE MAGAZINE

“One imagines the Nuevo tango master would be as captivated as any listener by such exquisite performances.”

TEXTURA

“The Piazzolla album is not just Cotik as brilliant interpreter, but also as creative mind.”

Musical Toronto

“Cotik plays with a resonant, clear and warm tone, and dynamics, phrasing and tempi are all perfectly judged...a sentiment that is clearly evident in every single track of this exemplary set”

THE WHOLE NOTE

“Cotik sounds consistently brilliant ”

STRINGS MAGAZINE

“this is one of the great Piazzolla discs, and in perfect sound quality, I urge you to buy it.”

David Denton for David’s Review Corner

Reviews

Classical Net, Sept. 2016

The Harrington Quartet (Tomás Cotik & Keith Redpath, violins; Jennifer Kozoroz, viola; Emmanuel Lopez, cello), along with violist James Dunham, are right on target in each piece. I can't imagine a significantly finer performance of either quintet: in their hands this mostly light and buoyant music effervesces with spirit and energy, and with vivid color and infectious joy. Their attacks are clean and precise, their intonation flawless and gorgeous, and their tempos and phrasing well-judged and sensitive. In short, they perform as one musical body, collectively striking you as master musicians who've played together for many years... Once again, the performance is splendid... this disc is a must for Mendelssohn mavens, as well as for aficionados of 19th century chamber music... So you have two thumbs up on this splendid Centaur disc.


Robert Cummings


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Fanfare Magazine, May 2016

These performances are surprisingly good. The players bring a feeling of youthful freshness, even innocence, to the first of the two quintets, investing Mendelssohn’s score with a great deal of charm. The Harrington String Quartet, partnered by violist James Dunham in the quintets, demonstrates the highest degree of technical skill in executing Mendelssohn’s fleet, nimble-fingered movements, while cultivating a warm-hearted and caring approach to the slower lyrical movements…the Harrington String Quartet on this fine-sounding Centaur CD is easily recommended.


Jerry Dubins


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American Record Guide, Apr. 2016

This is a wonderfully relaxing recording. Imagine  you're a string player, and you've invited friends over to the house to play chamber music. A glass or two of wine, and we  pull out some Mendelssohn. This recording documents

the way the music would sound (at least in my imagination). Tempos are very relaxed, the string sound is warm and gorgeous, play ers yield to each other in cooperative, musical fashion, and the world seems a better place. In

short  this is a great recording  if you value warmth and sweetness in Mendelssohn. I greatly enjoyed the Mandelring (I/F 2016), but putting them side by side now,  I think my choice would be the Harrington, who allow the music to unfold without being pressed or "energized". Here, though, nothing is forced, and, as  I say, the world seems a better place. So, congratulations to the Harrington.


Althouse


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The Post Journal, Febr. 2016

The performance is tautly disciplined. The focus of the music is always spot-on. The tone quality of each instrument is solid. It is a rare combination to hear a performance this controlled which doesn't sound in any way robotic, but which is emotionally moving. Listening to the recording is joyous. 


Robert W. Plyler


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Pizzicato Journal, Luxembourg, Febr. 2016

Mendelssohn, how it's supposed to sound! Musically this is an impressive achievement. The playing is both idiomatic and technically impeccable, never rushed and therefore unforcedly charming in the first quintet, while the second gets a good measure of expression."


Mendelssohn, wie er klingen soll!...Auf dieser CD sorgfältig erarbeiteten Interpretation zu hören...wachen Dialog der Musiker und den warmen Klang überzeugt, der unverkennbar ‘Mendelssohn’ ist.... Eindruck eines Ensembles, das nicht auf Effekte setzt, um Wirkung zu erzeugen, sondern die Musik von innen heraus erstrahlen lässt, gefühlvoll... mit einer romantisch verbrämten mozartschen Eleganz.


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Phil's Classical Reviews, Jan. 2016

...thrill audiences with the exuberance of their playing....The results are simpy wonderful... There is lightness and economy of purpose in the first violin’s melody, grounded by quarter-notes in the lower strings... The first violin takes charge of the adventuresome theme in the opening movement, its forte dynamics supported by ominous tremolos in the lower strings. The brief scherzo is made more attractive by superb fluidity and pace, enhanced by elegant pizzicati. Mendelssohn has been criticized, perhaps unfairly, for his conservative musical style. He saw no need to jettison the conventions we now term “classical” and attract attention to his music by indulging in “revolutionary” novelty à la Berlioz, and Wagner. Was he right in doing so? Certainly, he was a composer whose grasp was exactly equal to his reach, and the result can be very satisfying, especially in his memorable pictorial and expressive effects. Today, uninspired performances can make his music seem stodgy. Great ones, like the Harrington Quartet and Dunham give us in these recordings, bring out the lithesomeness, vitality, and unexpected depths of emotion that make his best music ever more revelant in today’s nervous world. 


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