THE NEW YORK TIMES:

“These four musicians certainly rose to the occasion (New York debut at Merkin Hall). They opened with

a poised, mature and ebullient account of Haydn, gave a glowing, vividly dramatic performance of

Debussy, and brought out the punchy energy of Chris Rogerson’s String Quartet. Intrepid players to the

end, they tore through a fearless rendering of Beethoven’s astonishing Grosse Fuge.”

SAN DIEGO UNION TRIBUNE:

“The Omer Quartet played as if the ink were still wet on the page. Haydn was not some bust on the piano,

but a living, breathing composer. This was an invigorating interpretation, played with a sense of discovery

and adventure, but also with considerable finesse.”

OBERON’S GROVE (New York):

“The Omer Quartet shone delightfully. It was music-making at its finest.”

THE STRAD:

“Throughout the entire programme, the Omer players gave all that they had, and never

passed up an opportunity to do something special. “

COMMUNITIES DIGITAL NEWS (Washington, DC):

“The Omer Quartet shone in a sophisticated, exciting and eclectic program.”

artsBHAM (Birmingham, AL):

“The quartet’s vividly executed program was an indicator of the energy and enthusiasm that has garnered

widespread attention for them. This compelling performance was convincing evidence that it is capable of

joining the upper echelon of string quartets.”

YOUNG CONCERT ARTISTS, INC. 1776 Broadway, Suite 1500 New York, NY 10019

Telephone: (212) 307-6655 management@yca.org www.yca.org

First Prize, 2017 Young Concert Artists International Auditions

Peter Jay Sharp Debut Concert Prize • Buffalo Chamber Music Society Prize • Hayden’s Ferry Chamber Music Series Prize

Tri-Noon Recitals Prize (New York) • Tryon Concert Association Prize • Summis Auspiciis Concert Prize of YCA

Tarisio Trust Young Artists Grant • Top Prize, 2017 Premio Paolo Borciani Competition (Italy)

Top Prize, 2017 Trondheim International Competition (Norway)

Grand Prize and Gold Medal, 2013 Fishoff National Chamber Music Competition

Doctoral Fellowship String Quartet in Residence, University of Maryland

OMER QUARTET

Photo: Matt Dine

The Week in Classical Music

Dec. 14, 2018

Our list of our favorite albums of the year and the New York debut of a young string quartet were among the highlights.

Last year was a big one for the Omer Quartet. The group took second prize in the Trondheim Competition in Norway and first prize in the auditions held by Young Concert Artists, which presented the Omer in its New York debut at Merkin Concert Hall this week. These four musicians, who came together at the Cleveland Institute of Music, certainly rose to the occasion. They opened with a poised, mature and ebullient account of Haydn’s String Quartet in C (Op. 20, No. 2); gave a glowing, vividly dramatic performance of Debussy’s String Quartet in G minor; and brought out the punchy energy of Chris Rogerson’s String Quartet No. 1, written in 2009, when its composer was just 20. To end, the intrepid players (Mason Yu and Erica Tursi, violins; Jinsun Hong, viola; Alex Cox, cello) tore through the contrapuntal tangles of Beethoven’s Grosse Fuge, a fearless rendering of this astonishing piece. You can see them on this 2017 video giving an arresting performance of Bartok’s Third String Quartet, my favorite of that composer’s six quartets. ANTHONY TOMMASINI

Reviews

OMER QUARTET MERKIN CONCERT HALL 11 DECEMBER 2018

MARCH 2019

As is expected of young, award-winning string quartet, beautiful sound, impeccable articulation and astounding ensemble in its New York debut. The opening cello solo (Alex Cox) in Haydn’s op.20 no.2 was absolutely arresting, and first violinist Mason Yu’s approach to bow use and vibrato compelled the ear.

Throughout the Haydn, the Omer’s transitions (whether harmonic, dynamic or in terms of character) were thoughtfully executed with elegance and masterful control. I was impressed by the maturity with which the musicians approached the Capriccio: Adagio movement, which was played dramatically but also with nuance and a rich variety of colours.

The Omer’s approach to Debussy’s Quartet was to play articulately – every note was clearly and distinctly head in both the melody and the supporting voices. Their interpretation was fascinating and beautiful. Jinsun Hong’s solos in the Andantino, doucement espressif were stunning and very special. How bow changes, shifts and string-crossing were fluid and seamless, creating a sound that seemed to float out of her instrument. She did not play with a huge sound, but one that was characterfully vocal and breathtakingly beautiful.

String Quartet no.1 by Chris Rogerson (b.1988) was a brilliant programming choice, as it seemed to echo and then rework many stylistic and motivic aspects of the Debussy. The Omer’s choice to close with Beethoven’s Grosse Fuge was again programmatically thoughtful, with a nod to the Haydn they had played, which also ends with a fugue. Their approach was dramatic and delicate; the players allowed the intricate middle section to breather in a beautiful way, creating soaring and tender lines in the midst of the frenzy of the work. Throughout the Beethoven and, indeed, the entire programme, the Omer players gave all that they had, and never passed up an opportunity to do something special.

LEAH HOLLINGSWORTH

Omer Quartet shines in YCA DC debut concert at the Terrace written by Terry Ponick - Feb 15, 2019

WASHINGTON, February 15, 2019 – The Young Concert Artists (YCA) series returned to the Kennedy Center’s Terrace Theater last week. Known for showcasing upcoming and exceptionally talented young classical soloists, the series presented the Washington, D.C. debut of the Omer Quartet. The ensemble won First Prize in YCA’s 2017 International Auditions.

The quartet also garnered additional performance prizes, including the Tri-Noon Recitals Prize from Rockefeller University, North Carolina’s Tryon Concert Association Prize, the Buffalo (N.Y.) Chamber Music Society Prize and Arizona’s Hayden’s Ferry Chamber Music Series Prize. Rounding out a glittering 2017, the ensemble also won the Top Prize at Italy’s Premio Paolo Borciani Competition.

Here in D.C. last week, quartet members Mason Yu and Erica Tursi (violins), Jinsun Hong (viola) and Alex Cox (cello) performed before a near-capacity Terrace Theater audience. They presented a sophisticated, exciting and eclectic program of string quartet music.

The Haydn string quartet

The quartet opened the evening with a performance of Haydn’s “String Quartet in E-flat major, Op. 20 No. 1.” Like much of Haydn’s music, this string quartet hides numerous musical challenges (and occasional musical jokes) throughout a vigorous piece that seems deceptively simple at times. But is not.

Debussy’s evolutionary quartet

Jumping from the classical period to the late 19thcentury, the quartet next performed what was probably the most familiar work on the evening’s program, Debussy’s only string quartet, his 1893 “String Quartet in G minor, L 85, Op. 10.” An excellent contrast to Haydn’s more formal quartet, the Debussy quartet at once showcases Debussy’s developing “impressionism” (a term he disliked) as well as his movement toward the 20thcentury’s general tendency to break with the rules of classical Western harmony. At times angular and stark, at other times richly Romantic and passionate, Debussy’s quartet is constructed in the classical form, more or less. But its abrupt changes in mood as well as key signature create tension and surprise throughout the work. The Omer Quartet gave a crisp, vigorous and at times starkly angular reading to this remarkable composition in one of the best and most original performances we’ve yet heard.

A contemporary work by prize-winning YCA composer Chris Rogerson

The ensemble launched the second half of its program with the “String Quartet No. 1” (2009-2010) of YCA prize-winning composer Chris Rogerson, who wrote it when he was just 20.

As compared to the Haydn and the Debussy, Rogerson’s quartet is short, informal, edgy and even a bit brittle at times. Its three short movements take a more or less traditional form. But each movement is suggestively rather than traditionally entitled. I.e.,“Duel,” “Hymn,” and “Dance.” Like many in the currently up-and-coming generation of young composers, Rogerson is somewhat indebted to the previous generation of American minimalist composers – such as Philip Glass, Steve Reich and John Adams – who gradually dislodged classical music from its dogmatic, academic, atonal rut. They effectively rediscovered harmony, but radically simplified it into ever-morphing, repetitious motifs. In another early hallmark, they generally (though not always) kept their original works short and to the point.

Rogerson is more of an originalist in that he doesn’t exactly follow the original recipe. But the motivic repetitions (particularly in the finale of this quartet) of early minimalism remain, along with spiky dissonances and special string effects.

The Omer Quartet offered a taut, kinetic and at times percussive interpretation of Rogerson’s score, further evidence yet that the new generation of composers are beginning once again to offer distinctly modern music that’s once again giving classical audiences something to think about.

A rarely-heard powerhouse fugue by Beethoven

The four young artists closed the evening with the surprising, powerful, robustly complex Beethoven’s “Grosse Fuge,” Op. 133. It’s rarely heard because, well, it’s too hard to play for one. But it’s also a bit of an orphan in terms of Beethoven’s vast musical terrain. In short, the Grosse Fuge started out as the finale of the composer’s “Quartet No. 13 in B-flat major, Op. 130.” But, for a variety of reasons, including its considerable length when compared to the other movements of that quartet – not to mention its difficulties and dense harmonic structure – Beethoven was persuaded to replace the “Grosse Fuge” finale with a more “reasonable” one when “Quartet No. 13” was published.

Meanwhile, the “Grosse Fuge” got a different Opus number (133). Today, musicologists quarrel endlessly about its form. For their part, even modern, technically superior musicians still regard it as tough to play.

An exceptional performance

The Omer Quartet, however, chose to ignore all this and accept the challenge. In response, they carved out a deeply felt, personal, yet virtuosic response to the composer’s monumental. Just tagging along on their musical journey proved an invigorating but pleasantly exhausting experience.

It actually felt as if the performers were truly unveiling a “newly discovered” piece by a very famous composer. Except that this “newly discovered” work has been there all along. The Omer Quartet should (and probably will) make this work a staple in their developing repertoire. In this performance, these artists genuinely seemed to “own” the work. In so doing, they triumphantly concluded their recital with a masterful reading of Beethoven’s massive score.

***

— Headline image: Omer Quartet, L-R: Mason Yu and Erica Tursi (violins);

Alex Cox (cello); Jinsun Hong (viola). Photo credit: Matt Dine for YCA.

https://www.commdiginews.com/entertainment/omer-quartet-yca-dc-debut-115375/

Oberon's Grove

The Omer Quartet @ Merkin Hall

Above: The Omer Quartet

New York, NY - Tuesday December 11th, 2018 - Young Concert Artists presenting The Omer Quartet at Merkin Hall. These young players had made an excellent impression in a 'calling card' performance, playing Piazzolla with accordionist Hanzhi Wang at her YCA debut concert at Zankel Hall in October. Their program tonight was expertly planned: book-ended by works of the masters of the string quartet genre (Haydn and Beethoven), with some delicious Debussy and a highly enjoyable piece by Chris Rogerson (who was a YCA Composer-in-Residence from 2010 to 2012), the Omer Quartet scored a genuine triumph.

Haydn's Quartet No. 2/Op. 20 C-Major, from 1772, was an ideal way to open the evening, its light and bustling start later bringing on big swirling motifs. The Omers weave lovely subtleties into the music, with tiny pauses giving a touch of suspense. A minor-key, tempestuous mid-section draws some fiery playing, which turns wistful. A soft glow infuses the return to major, with a gentle end.

The Capriccio: Adagio starts with the players in unison, finessed with etched-in trills. Throughout this, and the ensuing Minuetto, the Omers' integrated harmonies and perfectly-judged tempi gave us music-making at its finest. The Haydn closes with a sprightly fugue that leads to a final burst of energy.

Claude Debussy's String Quartet in G minor, Op. 10, is a coloristic treasure trove; it veers from darkish and subtle to fast and furious in the opening Animé et très decidé. The music is becalmed before rising to a dramatic end.

In the ensuing Assez vif et bien rythmé, gentle plucking supports a dance for the viola, played by Jinsun Hong. Mason Yu's violin and Alex Cox's cello dance in turn, with more gentle pizzicati moving on to a delicate finish.

The Andantino, doucement espressif, is the heart of the matter. Second violinist Erica Tursi passes a pensive theme over to Ms. Hong's viola. Then Mr. Yu commences a haunting violin solo over dense, perfumed harmonies. Mr. Cox's cello is heard in a yearning passage; Ms. Hong's viola has another melody, with the other voices commenting. Ms. Tursi's violin gets dreamy. As passion rises, Mr. Yu's violin soars onto silken heights. The music turns wonderfully

sensuous.

A deep cello prelude opens the concluding Très modéré - Très mouvemente, which

soon becomes enlivened. Swerving from lyrical to animated, with a rising rhythmic acceleration, to an exultant ending.

In the Debussy, we have been able to savour the artists of the Omer Quartet as individual voices. Taking the lead, Mason Yu displays astonishing intensity and power whilst at all times maintaining a gorgeous sheen on his tone.

Composer Chris Rogerson (left) charmingly spoke of how humbled he felt to be featured on a program alongside Haydn, Debussy, and Beethoven; Mr. Rogerson described his own String Quartet No. 1 as "modest." I found it to be thoroughly engaging and engrossing.

I hear an awful lot of 'new' (or recent) music, and I have to admit that, while much of it shows astute craftsmanship and is sometimes pleasing in a quirky way, very little

of it leaves a lasting impression or makes me want to hear it again. Mr. Rogerson's string quartet is thus a very pleasing discovery.

The music clocks in at twelve minutes, and left me wishing there had been a couple more movements. Such as Mr. Rogerson has given us, each of the three has a title: DUEL, HYMN, and DANCE; the music does what the titles say.

Slashing motifs and a pulsing cello mark the start of DUEL. It's brisk and driven. There's a violin solo with just a hint of jazz; dynamics are very much in play as the swordsmen feint and parry. There's a relentless energy, whether loud or soft: an ever-forward impetus. It ends suddenly.

HYMN is gorgeous...gorgeous, I tell you. The harmonies are achingly beautiful as they bend and shift thru slow modulations. The second violin, cello, and first violin each sing forth over blendings of lustrous colours. The tempo increases somewhat; the violin heads heavenward. Superb playing made it all the more inspiring.

DANCE springs up on a 3-note motif; the energy calms to some poignant harmonies over deep cello. It's over all too

soon. It seemed to me that the Rogerson String Quartet #1 is ready-made to be a ballet. I'm sending news of it on to Claudia Schreier.

Igor Stravinsky described Beethoven's Grosse Fuge, Op. 133, as "...an absolutely contemporary piece of music that

will be contemporary forever..." and thus it seemed this evening: fresh, daring, ahead of its time. Originally conceived as the finale for his Quartet #13, the composer was persuaded by his publisher that it the music was too off-putting and he traded it out for something more conventional, retaining the Grosse Fuge as a stand-alone piece.

The Omer Quartet did a fabulous job with it, relishing all the weirdness and playing like gods and goddesses. The audience was vigorously receptive, calling for two encores. Cellist Alex Cox announced the first - a "very short" Kurtag piece, slow and mysterious, that ended abruptly just as we were starting to savour it. And then a Haydn Vivace, full of comfort and joy.

I'll look forward to my next encounter with The Omer Quartet.

~ Oberon

December 12, 2018 https://oberon481.typepad.com/oberons_grove/

CONCERT REVIEW | OMER QUARTET

MUSIC | NOVEMBER 16, 2018 | BY MICHAEL HUEBNER

Omer Quartet: Alex Cox, cellist; Erica Tursi, violinist; Jinsun Hong, violist; Mason Yu, violinist

Entering ArtPlay Thursday night, it was hard not to time-travel to the salon concerts that characterized Biedermeier

Vienna in the 19th century. A distinctive spire, ionic columns and ornamental railings adorn the exterior of the Victorian mansion on the edge of the UAB campus. Inside, a glass chandelier, high ceilings and restored woodwork provide a cozy backdrop to chamber music. Converted to an arts education facility that opened in 2011, ArtPlay hosts a Parlor Series, which features young, up-and-coming talent. On Thursday, the Omer Quartet, international prizewinners and residency recipients now in residence at the University of Maryland, performed music by Haydn, Debussy, Chris Rogerson and Beethoven. The program was an indicator of the energy and enthusiasm that has garnered widespread attention for them.

Haydn’s String Quartet in C major, Op. 20, No. 2 highlighted the quartet’s lyric sensibilities, especially in solos by cellist Alex Cox and first violinist Mason Yu. The final “Fuga” movement, played with furious abandon, set the stage for Beethoven’s “Grosse Fuge,” which closed the concert.

Debussy’s String Quartet in G minor, Op. 10, revealed an ensemble well-endowed with technical acumen and eager to show it. There were plenty of highlights to go around; in particular, engaging and nuanced deliveries of the largely pizzicato second movement and “Très modéré” finale, and a beautifully rendered solo from violist Jinsun Hong in the Andantino.

Chris Rogerson

Chris Rogerson’s energetic String Quartet No. 1 was given an inspired reading. The ostinato pizzicato in the opening “Duel” was reminiscent of the Debussy pizzicato movement heard previously, and led to a movement organized on a four-note theme that developed into a sweet, passionate “Hymn,” and a richly animated “Dance.”

Beethoven’s “Grosse Fuge,” Op. 133, a daunting work for listeners and performers alike, lucidly capture the composer’s conflicting emotions. Once described as “fiendishly difficult to play,” its sudden character shifts from ebullient to lyrical to restless and beyond, were vividly executed. This was a compelling performance, and convincing evidence that the Omer Quartet is capable of joining the upper echelon of string quartets.

Parlor Series continues March 7, 2019 with pianist Nathan Lee.

http://www.artsbham.com/concert-review-omer-quartet/

Omer String Quartet Opens Moore County Arts Council's Series

By William Thomas Walker Classical Voice of North Carolina October 15, 2018 - Southern Pines, NC:

Southern Pines' charming and intimate Sunrise Theater was well filled with music lovers for the opening program of the

2018-19 Classical Concert Series. Now beginning its 27th season, it has been under the aegis of the Moore County Arts

Council in recent years. The organizers are savvy about lining up some of the finest new ensembles at the start of their

careers. This concert featured the Omer String Quartet.

The Omer Quartet won first prize at the 2017 Young Concert Artists International Auditions, and they have been

appointed Ernest Stiefel Quartet-in-Residence at Caramoor. The Omer Quartet consists of violinists Mason Yu and Erica

Tursi, violist Jinsun Hong, and cellist Alex Cox.

From the rich solo notes of Cox's fine cello that opened Haydn’s Quartet in C, Op. 20, No. 2, the Omer's intonation was

superb, as was their close matching of playing style. The violins of Yu and Tursi blended immaculately. Besides her fine

playing, the distinct beauty of Hong's Amati viola reproduction was a constant pleasure: it projected into the hall ideally at

all dynamics. The Omer's approach to Haydn is as fine as any top ensemble active now or in the recent past.

A long delay due to a broken cello string aside, the Omer brought similar mastery to the very different sound-world of

Debussy’s Quartet in G minor, Op. 10. Their control of dynamics and their meticulous care in recreating Debussy's

kaleidoscopic range of instrumental color and timbre was excellent. In the slow movement, marginally more deliberate

than usual, their expressive choices were convincing.

Violinist Tursi introduced the Haydn and Debussy. The long hiatus of the broken string was not wasted, as Yu, Tursi, and

Hong answered audience questions about themselves, their instruments, and the quartet's founding. Tursi then went ahead

and gave the information about the last two works on the program.

Quartet No. 1 (2009), by Chris Rogerson (b.1988), is in three movements ("Duel," "Hymn," and "Dance") and lasts about

twelve minutes. The composer has racked up an impressive array of awards and commissions. Praised for the "virtuosic

exuberance" of his music by The New York Times, he is on the roster of the Young Concert Artists. He has recently been

composer-in-residence with the Amarillo Symphony, among others.

What a pleasure to hear an imaginative, tonal new work of some substance and length! The ensemble brought plenty of

drama to the opening movement, a relentless driving rhythm with a brief, gentle drop in dynamic. The slow movement,

"Hymn," might take on a life of its own, excerpted like the very different Adagio from Samuel Barber's First Quartet. A

meditative, spiritual atmosphere is created by long, sustained harmonics from the cello and viola with prayerful

commentaries or, in turn, songs from the first violin and others. Without pause, the tempo quickens for the finale. The

Omer tossed about quick, repeated rhythmic patterns and floated a brief lyrical episode before ending with a dramatic

flourish.

The Groβe Fugue in B-flat, Op. 133, by Ludwig van Beethoven is the craggy, monumental piece originally planned to be

the final movement of his Quartet in B-flat, Op. 130. The Quartet reined back fff, applied ppp widely, and slowed tempi

for an individual but very satisfying interpretation.

https://cvnc.org/article.cfm?articleId=9130

NOTE: When editing, please do not delete references to Young Concert Artists, nor special prizes

Please do not use previously dated biographies 12/2018

OMER QUARTET Mason Yu and Erica Tursi, violins

Jinsun Hong, viola Alex Cox, cello

Distinctive among today’s young string quartets, the Omer Quartet won First Prize in the 2017 Young Concert

Artists International Auditions, and holds the Helen F. Whitaker Chamber Music Chair of YCA. It debuts this

season in the Young Concert Artists Series at the Kennedy Center in Washington, DC, and recently debuted in the

Peter Jay Sharp Concert of YCA, with additional support from the Summis Auspiciis Fund, in New York at

Merkin Concert Hall.

The New York Times raved, “These four musicians certainly rose to the occasion. They opened with a poised,

mature and ebullient account of Haydn, gave a glowing, vividly dramatic performance of Debussy, and brought

out the punchy energy of Chris Rogerson’s String Quartet. To end, the intrepid players tore through the

contrapuntal tangles of Beethoven’s Grosse Fuge, a fearless rendering of this astonishing piece.”

At the Young Concert Artists Auditions, the Omer Quartet received four special Performance Prizes: the Tri-I

Noon Recitals Prize from New York’s Rockefeller University, the Tryon (NC) Concert Association Prize, the

Buffalo Chamber Music Society Prize, and the Hayden’s Ferry Chamber Music Series Prize. It has also received

Top Prize at the 2017 Premio Paolo Borciani Competition in Italy and Grand Prize and Gold Medal at the 2013

Fischoff National Chamber Music Competition.

In addition to its New York and Washington, DC debuts, the Quartet performs this season for the Ellingwood

Concert Series, Historic Portsmouth Chamber Music Series, Berea College, Music Mondays in New York City

with clarinetist David Krakauer, Caramoor Center, St. Louis Concert Series, Port Washington Library,

Brookhaven at Lexington, Fox Hill Village, Brooksby Village, Evergreen Museum and Library, Levine School of

Music, St. Lawrence Emerging String Quartet Residency, and Chamber Music Abu Dhabi.

The Omer Quartet has performed with renowned artists Clive Greensmith, Eugene Drucker, Cho-Liang Lin, the

Assad Brothers and YCA alumnus Borromeo String Quartet, and collaborated with composers including Sean

Shepherd and Perry Goldstein. It served as Chamber Ensemble in Residence at the 2018 Bravo! Vail Music

Festival, and has performed for the Princeton University Summer Chamber Concerts, Tannery Pond Concerts, the

Honest Brook, Great Lakes Chamber, Caroga Lake and Yellow Barn Music Festivals, the McGill International

String Quartet Academy, the Ravinia Steans Institute, and in the Perlman Music Program.

Committed to community engagement, the Quartet devotes time to creating original and interactive programs.

With a grant by The Boston Foundation it performed in homeless shelters and drug rehabilitation centers in the

area. It completed a fellowship with Music for Food to aid local hunger relief through a musician-led initiative

directed by Kim Kashkashian, and a Tarisio Trust Young Artists Grant allowed it to continue this organization’s

mission by initiating a Music for Food concert series in the Washington, D.C. area.

Following study at the Cleveland Institute of Music, the Omer Quartet completed a graduate residency at the New

England Conservatory, where its members gave coachings and masterclasses and worked closely with Paul Katz,

Donald Weilerstein, Kim Kashkashian, and Soovin Kim. The Quartet is currently the Doctoral Fellowship String

Quartet-in-Residence at the University of Maryland, working with Katherine Murdock and David Salness, and the

2018-19 Ernst Stiefel String Quartet-in-Residence at New York’s Caramoor Center for Music and Arts.

Young Concert Artists, Inc.

1776 Broadway, Suite 1500, New York, NY 10019 telephone: (212) 307-6655 fax: (212) 581-8894 e-mail: yca@yca.org website: www.yca.org

OMER QUARTET

REPERTOIRE

THOMAS ADÈS The Four Quarters, Op. 28

BÉLA BARTÓK Quartet No. 1

Quartet No. 3

LUDWIG VAN BEETHOVEN Quartet in D Major, Op. 18, No. 3

Quartet in F Major, Op. 59, No.1

Quartet in E Minor, Op. 59, No. 2

Quartet in E-flat Major, Op. 127

Quartet in A Minor, Op. 132

Grosse Fuge, Op. 133

Quartet in F Major, Op.135

JOHANNES BRAHMS Quartet No. 3 in B-flat Major, Op. 67

CLAUDE DEBUSSY Quartet in G minor, Op. 10

ZOSHA DI CASTRI Quartet No. 1

OSVALDO GOLIJOV Dreams and Prayers of Isaac the Blind

Yiddishbuk

EDVARD GRIEG Quartet No. 2 in F Major (unfinished)

JOSEPH HAYDN Quartet No. 25 in C Major, Op. 20, No. 2

Quartet No. 40 in F Major, Op. 50, No. 5

Quartet No. 59 in G Minor, Op. 74, No. 3 (“Rider”)

Quartet No. 64 in D Major, Op.76, No. 5

TOSHIO HOSOKAWA “Blossoming”

PIERRE JALBERT Icefield Sonnets

LEOŠ JANÁČEK Quartet No. 1 “Kreutzer Sonata”

LEON KIRCHNER Quartet No. 3

GYÖRGY KURTÁG Six Moments Musicaux

FELIX MENDELSSOHN Quartet No. 2 in A Minor, Op.13

Quartet No. 6 in F Minor, Op. 80

WOLFGANG AMADEUS MOZART Quartet No. 19 in C Major, K. 465 (“Dissonance”)

CHRIS ROGERSON Quartet No. 1

FRANZ SCHUBERT Quartet No. 10 in E-flat Major, D. 87

Quartettsatz

ROBERT SCHUMANN Quartet No. 1 in A minor

GABRIELLA SMITH Porcupine Wash

ANTON VON WEBERN Bagatelles for String Quartet