{"id":899,"date":"2014-10-19T21:51:06","date_gmt":"2014-10-19T19:51:06","guid":{"rendered":"https:\/\/signumquartet.com\/presse-2\/"},"modified":"2025-07-21T18:12:21","modified_gmt":"2025-07-21T16:12:21","slug":"reviews","status":"publish","type":"page","link":"https:\/\/signumquartet.com\/en\/reviews\/","title":{"rendered":"Reviews"},"content":{"rendered":"\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_hr-bd84104f09c397338597807ab31c6aca\">\n#top .hr.hr-invisible.av-av_hr-bd84104f09c397338597807ab31c6aca{\nheight:15px;\n}\n<\/style>\n<div  class='hr av-av_hr-bd84104f09c397338597807ab31c6aca hr-invisible  avia-builder-el-0  el_before_av_one_third  avia-builder-el-first '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-1  el_after_av_hr  el_before_av_two_third  first flex_column_div  '     ><section  class='av_textblock_section av-mddaxair-f94374cfd249951f408c79264357702d '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"https:\/\/www.gramophone.co.uk\/review\/a-dark-flaring-works-for-string-quartet-from-south-africa\" target=\"_blank\" rel=\"noopener\"><b>Gramophone<\/b><\/a><\/h4>\n<\/div><\/section><\/div>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-3  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  '     ><section  class='av_textblock_section av-mddazpqh-d76d31356bb4fd2fe65c6fc63ae74c1e '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">\u201cthe Signum\u2019s slightly more measured but superbly played version of this unalloyed masterpiece [Rainier] is unreservedly welcome. So is the whole album, though, with such tremendous performances and pitch-perfect sound. Recommended.\u201d<\/p>\n<p class=\"p1\"><em>Guy Rickards: \u201cA Dark Flaring: Works for String Quartet from South Africa\u201d in Gramophone, August 2025<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div><div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-5  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><b><a href=\"http:\/\/www.thestrad.com\/reviews\/the-strad-recommends-signum-quartet-lebensmuth\/16556.article\" target=\"_blank\" rel=\"noopener\">The Strad<\/a><\/b><\/h4>\n<\/div><\/section><\/div><\/p>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-7  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">\u201cThought-provoking programming, magnificent playing. \u00a0[\u2026]\u00a0The players\u2019 coordination is breathtaking both in terms of ensemble and intonation, and their observation of dynamics and articulation guarantees that the work\u2019s emotional impact is fully realised.\u201d<\/p>\n<p class=\"p1\"><em>David Threasher: \u201cThe Strad Recommends: Signum Quartet Lebensmuth\u201d in The Strad, 26 June 2023<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-9  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><b><a href=\"https:\/\/www.concerti.de\/rezensionen\/signum-quartett-lebensmuth\/\" target=\"_blank\" rel=\"noopener\">concerti<\/a><\/b><\/h4>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-11  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">\u201cIntoxicating and deeply moving. Sublime ensemble playing.\u201d<\/p>\n<p class=\"p1\"><em>Eckhard Weber: &#8220;Review: Lebensmuth&#8221; in concerti, 7 June 2023<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-13  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><b><a href=\"https:\/\/stringsmagazine.com\/album-review-signum-quartett-suggests-new-ways-of-playing-schubert-on-ins-stille-land\/?fbclid=IwAR3iRVgR38QzjjF8htl7YswG3kN0yFWqfN1QXln_Ws8ipXV9Qs2JCYvNdTA\" target=\"_blank\" rel=\"noopener\">Strings Magazine<\/a><\/b><\/h4>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-15  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">\u201can affecting new way of playing and listening to Schubert [\u2026] Prepare for a deeply moving experience\u201d<\/p>\n<p class=\"p1\"><em>Laurence Vittes: &#8220;Review: Signum Quartett Suggests New Ways of Playing Schubert on \u2018Ins stille Land\u2019\u201d in Strings Magazine, 16 March 2021<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-17  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><b><a href=\"https:\/\/www.classical-music.com\/reviews\/chamber\/erkki-sven-tuur-lost-prayers\/?fbclid=IwAR37CSzoakI-1nvDLui61B7KwMi7ZamfUEkClDbgESYaKpumEFYLMj7ZLM4\" target=\"_blank\" rel=\"noopener\">BBC Music Magazine<\/a><\/b><\/h4>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-19  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">\u201cdissonant with dark, tonal-atonal underpinnings, and replete with pauses and explosions that ricochet outwards in molten trails before re-gathering. All are delivered with exemplary drive and luminosity: the Signum Quartett respond vividly to the changing textures of T\u00fc\u00fcr\u2019s imagined Lost Prayers.\u201d<\/p>\n<p class=\"p1\"><em>Steph Power: &#8220;Erkki-Sven T\u00fc\u00fcr: Lost Prayers\u201d in Classical Music, 21 January 2021<br \/>\n<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-21  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><b><a href=\"https:\/\/www.thestrad.com\/reviews\/signum-quartet-ins-stille-land\/11607.article\" target=\"_blank\" rel=\"noopener\">The Strad<\/a><\/b><\/h4>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-23  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">\u201cThe Signum\u2019s \u2018Death and the Maiden\u2019 is up there with the best from a crowded field\u201d<\/p>\n<p class=\"p1\"><em>Carlos Maria Solare: &#8220;Signum Quartet: Ins stille Land\u201d in The Strad, 2 January 2021<br \/>\n<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-25  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><b><a href=\"https:\/\/www.gramophone.co.uk\/review\/schubert-ins-stille-land-signum-quartett\" target=\"_blank\" rel=\"noopener\">Gramophone<\/a><\/b><\/h4>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-27  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">\u201cpassionate, often brilliant, but also clear and lean [\u2026] a D810 finale so swift that it feels genuinely dangerous [\u2026] an album that repays careful and repeated listening\u201d<\/p>\n<p class=\"p1\"><em>Richard Bratby: &#8220;SCHUBERT Ins stille Land\u201d in Gramophone, 01\/2021<br \/>\n<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-29  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><b><a href=\"https:\/\/www.rondomagazin.de\/kritiken.php?kritiken_id=11273\" target=\"_blank\" rel=\"noopener\">Rondo Magazin<\/a><\/b><\/h4>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-31  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">\u201cThat this develops into a dialogue between Schubert\u2019s dual composer souls of <em>lied<\/em> and chamber music to which one does not merely listen, but by which one is spellbound and enthralled, is thanks to the highly concentrated, creative, versatile and emotional playing of the four musicians.\u201d<\/p>\n<p class=\"p1\"><em>Guido Fischer: &#8220;SCHUBERT Ins stille Land&#8221; in Rondo Magazin, 28.11.2020<br \/>\n<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-33  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><b>Diapason<\/b><\/h4>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-35  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">\u201cThe interpretation presented by the Signum Quartet has nothing massive about it. Starting from its very first beat, one can hear the quartet\u2018s preference for a light aesthetic, which reminds us of their last Schubert recording which we enjoyed so much.\u201d<\/p>\n<p class=\"p1\"><em>Jean-Michel Molkhou: \u201cBeethoven op 130 &amp; 133\u201d in Diapason, 04\/20<br \/>\n<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-37  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><b><a href=\"https:\/\/www.thetimes.co.uk\/article\/review-mozarts-requiem-at-kings-place-n1-735sdrx36\" target=\"_blank\" rel=\"noopener\">The Times<\/a><\/b><\/h4>\n<p><em>Schubert &#8220;Death and the Maiden&#8221;<\/em><\/p>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-39  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">&#8220;a performance as boldly imagined as a symphony, with startling rhythmic daring in the scherzo and timbres that ranged from ashen to silver in the variations. Fury, tenderness, terror, sardonic humour and resignation were here in a journey that left the listener bruised and breathless.<\/p>\n<p class=\"p1\"><em>Anna Picard: &#8220;Review: Mozart\u2019s Requiem at Kings Place, N1&#8221; in The Times, 5. December 2018<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-41  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><b>Diapason<\/b><\/h4>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-43  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">\u201cThe intimacy of the famous Andante [of D 804], the exceedingly gentle palpitations in the Menuetto as well as the authentic freshness of the Finale are emblematic of one of the most sensitive interpretations ever recorded.\u201d<\/p>\n<p class=\"p1\"><em>Jean-Michel Molkhou: &#8220;SCHUBERT Aus der Ferne&#8221; in Diapason, 09\/18<br \/>\n<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-45  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><b>FONO FORUM<\/b><\/h4>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-47  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">\u201can unrelentingly gripping voyage through Schubert\u2019s mysterious world\u201d<\/p>\n<p class=\"p1\"><em>Carlos Maria Solare: \u201cAus der Ferne. Schubert.\u201d in FONO FORUM, 08\/18<br \/>\n<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-49  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><b><a href=\"https:\/\/www.thestrad.com\/reviews\/signum-quartet-aus-der-ferne-schubert-quartets-and-lieder-arrangements\/7933.article\" target=\"_blank\" rel=\"noopener\">The Strad<\/a><\/b><\/h4>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-51  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">\u201ctheir readings\u2019 greatest beauty is the intimate emotional trinity they intertwine of dignity, fragility and pain.\u201d<\/p>\n<p class=\"p1\"><em>Charlotte Gardner: &#8220;Aus der Ferne \u2013 Schubert quartets and lieder arrangements&#8221; in The Strad, June 2018<br \/>\n<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-53  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><b><a href=\"https:\/\/www.gramophone.co.uk\/review\/schubert-aus-der-ferne-signum-quartet\" target=\"_blank\" rel=\"noopener\">Gramophone<\/a><\/b><\/h4>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-55  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">&#8220;The quartet play transparently and eloquently, without a hint of sentimentality, in performances that deal unflinchingly with the music\u2019s latent violence. The slow movement of the A minor Quartet, in particular, veers terrifyingly into the darkness [\u2026] Definitely not Schubert as easy-listening, then, but a fascinating, thought-provoking disc.&#8221;<\/p>\n<p class=\"p1\"><em>Richard Bratby: &#8220;SCHUBERT Aus der Ferne&#8221; in Gramophone, 06\/2018<br \/>\n<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-57  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><b><a href=\"https:\/\/www.thestrad.com\/artists\/postcard-from-the-string-quartet-biennale-amsterdam\/7807.article\" target=\"_blank\" rel=\"noopener\">The Strad<\/a><\/b><\/h4>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-59  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">\u201cThe Signum Quartet\u2019s performance was a single multifaceted paragraph of tremendous cumulative power\u201d<\/p>\n<p class=\"p1\"><em>Tim Homfray: \u201cPostcard from: the String Quartet Biennale Amsterdam\u201d in The Strad, 8. May 2018<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-61  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><strong><a href=\"https:\/\/www.nmz.de\/artikel\/immanenz-und-transzendenz\" target=\"_blank\" rel=\"noopener\">neue musikzeitung<\/a><\/strong><\/h4>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-63  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">&#8220;That Widmann is not only one of the most well-versed polystylists but also a great friend of the musical grotesque is demonstrated by his \u201cJagdquartett\u201d, played here by the Signum Quartet gone wild, and setting a new record for speed and screams..&#8221;<\/p>\n<p class=\"p1\"><em>Dirk Wieschollek: \u201eImmanenz und Transzendenz\u201c in nmz, 04\/2018<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-65  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.rondomagazin.de\/kritiken.php?kritiken_id=10258\" target=\"_blank\" rel=\"noopener\">Rondo Magazin<\/a><\/h4>\n<div class=\"page\" title=\"Page 1\"><\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-67  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">\u201cIn the 3rd String Quartet by Widmann, the four string players of the Signum Quartet race over hill and dale. In this \u2018Jagdquartett\u2019 (Mozart sends his regards!) they master the most varied and extreme technical situations with unstoppable drive and unmistakable exuberance.\u201d<\/p>\n<p class=\"p1\"><em>Guido Fischer: \u201eJ\u00f6rg Widmann Viola-Konzert, 24 Duos (Auswahl), Jagdquartett\u201c in Rondo Magazin, 10. March 2018 (own translation)<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-69  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4>Frankfurter Allgemeine Zeitung<\/h4>\n<div class=\"page\" title=\"Page 1\"><\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-71  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">\u201cChamber music at its finest.\u201d<\/p>\n<p class=\"p1\"><em>Guido Holze: \u201cEs klappert die M\u00fchle\u201d in Frankfurter Allgemeine Zeitung, 29. November 2017<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-73  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.violinist.com\/blog\/hkurzbauer\/20182\/25664\/\" target=\"_blank\" rel=\"noopener\">violinist.com<\/a><\/h4>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\"><em><em>String Quartet Biennale Amsterdam<\/em><\/em><\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-75  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">\u201cBalm to the soul was provided by the Signum Quartet\u2019s ravishing, organic Beethoven opus 132. Playing as if they shared one and the same breath, the group showed how four can actually become one while casting a spell.\u201d<\/p>\n<p class=\"p1\"><em>Heather Kurzbauer: \u201cString Quartet Biennale Amsterdam (SQBA) opens with charisma and color\u201d in violinist.com, 4. February 2018<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-77  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.elbowmusic.org\/single-post\/2018\/02\/09\/Can-string-quartets-save-the-world\" target=\"_blank\" rel=\"noopener\">elbowmusic.org<br \/>\n<\/a><\/h4>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\"><em><em>String Quartet Biennale Amsterdam<\/em><\/em><\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-79  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">\u201cSo on one night we had the Signum Quartet finding the otherworldly, slow-motion beauty of Beethoven\u2019s op.132 Heiliger Dankgesang, and the next afternoon, coming back to this sound world in a performance of J\u00f6rg Widmann\u2019s complete string quartets. [&#8230;] As well as the sheer technical dexterity and accuracy required, the members of the Signum Quartet proved to be superb actors.\u201d<\/p>\n<p class=\"p1\"><em>Ariane Todes: \u201cCan string quartets save the world?\u201d in elbowmusic.org, 9. Februar 2018<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-81  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.telegraph.co.uk\/music\/classical-music\/novembers-best-classical-concerts\/\" target=\"_blank\" rel=\"noopener\">The Telegraph<\/a><\/h4>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\"><em><em>November&#8217;s best classical concerts<\/em><\/em><\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-83  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">&#8220;brilliantly performed&#8221;, &#8220;with perfect precision&#8221; 5*<\/p>\n<p class=\"p1\"><em>Ivan Hewett: \u201cNovember&#8217;s best classical concerts\u201d in The Telegraph, 13. November 2016<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-85  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"https:\/\/www.theguardian.com\/music\/2016\/nov\/13\/signum-quartet-bcmg-review-kevin-volans-cbso-centre-birmingham\" target=\"_blank\" rel=\"noopener\">The Guardian<\/a><\/h4>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\"><em><em>Signum Quartet\/BCMG review<\/em><\/em><\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-87  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">&#8220;The [12th String Quartet by Kevin Volans] must be frighteningly difficult to coordinate and play, but the Signum performance seemed astonishingly assured.&#8221;<\/p>\n<p class=\"p1\"><em>Andrew Clements: \u201cSignum Quartet\/BCMG review \u2013 a double bill of Kevin Volans world premieres\u201d in The Guardian, 13 November 2016<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-89  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.thestrad.com\/cpt-reviews\/alla-czeca-dvorak-string-quartet-no-13-in-g-major-schulfhoff-five-pieces-suk-meditation-on-the-old-czech-chorale-st-wenceslaus\/\" target=\"_blank\" rel=\"noopener\">The Strad<\/a><\/h4>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\"><em><em>alla czeca<\/em><\/em><\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-91  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<p class=\"p1\">&#8220;The Signum\u2019s playing is both clean in its clarity of ensemble and interpretatively full of freshness and life, and its ebullience of spirit in the exhilarating finale is infectious.&#8221;<\/p>\n<p class=\"p1\"><em>Matthew Rye: &#8220;alla czeca&#8221; in The Strad, 2. January 2016<\/em><\/p>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-93  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4>S\u00fcddeutsche\u00a0Zeitung<\/h4>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\"><em><em>alla czeca<\/em><\/em><\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-95  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<p class=\"p1\">&#8220;The gesture-rich Five Pieces by Erwin Schulhoff, one of the most interesting Innovators of the Twenties and Thirties who fell victim to the Nazis in 1942, come across brilliantly.&#8221;<\/p>\n<p class=\"p1\"><em>Harald Eggebrecht:\u00a0&#8220;Klassikkolumne&#8221;. In\u00a0S\u00fcddeutsche Zeitung, 22. September 2015. Own translation.<\/em><\/p>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-97  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.concerti.de\/de\/3214\/cd-rezension-signum-quartett-existenzielle-aussprache.html\" target=\"_blank\" rel=\"noopener\">concerti<\/a><\/h4>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\"><em>alla czeca: &#8220;Existential utterance&#8221;<\/em><\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-99  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div>\n<p class=\"p1\">&#8220;Electrifying and profound [\u2026] The Signum Quartet tests the extremes, venturesome and headstrong. [\u2026] The string quartet as existential utterance &#8211; nothing banal here.&#8221;<\/p>\n<p class=\"p1\"><em>Eckhard Weber:\u00a0&#8220;Existenzielle Aussprache&#8221; in\u00a0concerti, October 2015. Own translation\u00a0<\/em><\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-101  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4>Aachener Zeitung<\/h4>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\"><em><em>alla czeca<\/em><\/em><\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-103  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<p class=\"p1\">The Signums make music in the best late romantic tradition,\u00a0without\u00a0even a suggestion of seeming old-fashioned. On the contrary:\u00a0Dvo\u0159\u00e1k&#8217;s music bursts with liveliness. One hasn&#8217;t heard something like this in a long time.&#8221;<\/p>\n<p class=\"p1\"><em>ark: &#8220;Album Check 1: Alla Czeca&#8221;. In Aachener Zeitung, 9. October 2015.\u00a0Own translation.<\/em><\/p>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-105  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.spiegel.de\/kultur\/musik\/signum-quartett-soundescapes-debussy-ades-ravel-kritik-a-1029209.html\" target=\"_blank\" rel=\"noopener\">Spiegel Online<\/a><\/h4>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\"><em><em>soundescapes:\u00a0<\/em>&#8220;In the miniature wonderland of strings&#8221;<\/em><\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-107  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<p>&#8220;An exhilarating cocktail.&#8221;<br \/>\n&#8220;a refined fire, glowing, perfectly formed.&#8221;<br \/>\n&#8220;How wonderful it is when interpreters bring these ideas to life with such verve and intuition. [&#8230;] An enthusiasm for playing which will perk up even hardened chamber music-grouches.&#8221;<\/p>\n<\/div>\n<address>\u00a0<em>Werner Theurich: &#8220;Kammermusik: Im Miniatur-Wunderland der Streicher&#8221;. In Spiegel Online, 19. April 2015. Own translation.<\/em><\/address>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-109  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.deutschlandfunk.de\/kammermusik-musik-zum-anfassen.727.de.html?dram:article_id=318772\" target=\"_blank\" rel=\"noopener\">deutschlandfunk.de<\/a><\/h4>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\"><em>soundescapes: &#8220;Music to touch&#8221;<\/em><\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-111  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<p class=\"p1\">&#8220;Music to touch, music which does not merely ring in the ears but which is positively palpable. This is the new CD by the Signum Quartet. At times it feels like gossamer parchment paper, at times like coarse, dried wood, at times like brushed, cold steel.&#8221;<\/p>\n<p class=\"p1\"><em>Maja Ellmenreich: &#8220;Die neue Platte: Musik zum Anfassen&#8221;. In deutschlandfunk.de, 3. Mai 2015.<\/em><em style=\"line-height: 1.5;\"> Own translation.<\/em><\/p>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-113  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.pizzicato.lu\/faszinierende-nuancierungskunst\/?utm_source=Pizzicato.lu&amp;utm_campaign=b7ddd9abce-Pizzicato_Newsletter&amp;utm_medium=email&amp;utm_term=0_21bef0aae9-b7ddd9abce-780445\" target=\"_blank\" rel=\"noopener\">pizzicato.lu<\/a><\/h4>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\"><em>soundescapes: &#8220;Fascinating nuances&#8221;<\/em><\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-115  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<p class=\"p1\">&#8220;Introspection and refined emotional nuances also define this reading of the Ravel quartet, in which we, as in the preceding works, marvel at the ensemble&#8217;s balance of sound, which transforms the music into a kind of sensual dream and portrays the delicacy of Ravel&#8217;s music completely.&#8221;<\/p>\n<p class=\"p1\"><em>Remy Franck: &#8220;Faszinierende Nuancierungskunst&#8221;. In pizzicato.lu, 4. Mai 2015.<\/em><em style=\"line-height: 1.5;\"> Own translation.<\/em><\/p>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-117  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4>Ostth\u00fcringer Zeitung<\/h4>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\"><em>soundescapes: &#8220;Musical escapes&#8221;<\/em><\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-119  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<p>&#8220;[&#8230;] the Signum Quartet, who under the allusion-rich title &#8220;soundescapes&#8221; has just released an extraordinary recording of sensual works which play with the flow of sound and colour. These are musical points of escape in many respects, as this recording is potentially addictive.&#8221;<\/p>\n<\/div>\n<address>\u00a0<\/address>\n<div><\/div>\n<div><em>Tatjana Mehner: &#8220;Musikalische Fluchtpunkte&#8221; In: Ostth\u00fcringer Zeitung, 7. April 2015. Own translation.<\/em><\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-121  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.tagblatt.ch\/aktuell\/kultur\/ostschweiz_kultur\/Taufrisch-und-aufregend;art482582,4173404\" target=\"_blank\" rel=\"noopener\">tagblatt.ch<\/a><\/h4>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\"><em>soundescapes: &#8220;Fresh and exciting&#8221;<\/em><\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-123  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<p>&#8220;The new CD of the Signum Quartet from Germany belongs in the premium class. This recording of Debussy&#8217;s String Quartet is characterized from the very first bar by an elastic and flowing style and an enormously rich tonal palette. The four players approach this impressionistic gem with a joyful sense of discovery &#8211; fresh and full of vigour.&#8221;<\/p>\n<\/div>\n<address>\u00a0<\/address>\n<div><\/div>\n<div><em>&#8220;Taufrisch und aufgregend&#8221; In: tagblatt.ch, 27.March 2015. Own translation.<\/em><\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-125  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/classicalsource.com\/db_control\/db_concert_review.php?id=12680\" target=\"_blank\" rel=\"noopener\">classicalsource.com<\/a><\/h4>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p><em>Signum Quartet at Wigmore Hall<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-127  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<p>&#8220;The Signum members gave a full-throttled performance [of Beethoven&#8217;s Gro\u00dfe Fuge op. 133], rising to its many challenges \u2013 not the least of which being stamina \u2013 with great aplomb. Potentially an impenetrable mess of contrapuntal complexity, here the fugal lines were brought out with dextrous virtuosity.&#8221;<\/p>\n<\/div>\n<address>\u00a0<\/address>\n<div><\/div>\n<div><em>Arnold Jarvist: &#8220;Signum Quartet at Wigmore Hall \u2013 Beethoven B flat\/Opus 130 String Quartet with Grosse Fuge&#8221; In: classicalsource.com, 2 March 2015<\/em><\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-129  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/seenandheard-international.com\/2015\/03\/uplifting-lunchtime-beethoven-from-the-signum-string-quartet\/?doing_wp_cron=1425995667.3766350746154785156250\" target=\"_blank\" rel=\"noopener\">seenandheard-international.com<\/a><\/h4>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p><em>Uplifting Lunchtime Beethoven from the Signum String Quartet<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-131  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>&#8220;Thoughtful intellectual analysis, complex musicianship, outstanding technical command, meticulous ensemble and a delightful level of imagination persuasively underpinned their Beethoven. [&#8230;] the most uplifting lunchtime I have experienced for some time.&#8221;<\/div>\n<address>\u00a0<\/address>\n<div><\/div>\n<div><em>Leon Bosch: &#8220;Uplifting Lunchtime Beethoven from the Signum String Quartet&#8221; In: seenandheard-international.com, 10 March 2015<br \/>\n<\/em><\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-133  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.sueddeutsche.de\/\" target=\"_blank\" rel=\"noopener\">S\u00fcddeutsche Zeitung<\/a><\/h4>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p><em>&#8220;Wild hunt&#8221;<\/em><br \/>\n<em>J\u00f6rg Widmann and friends at the Prinzregententheater<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-135  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\u201cBecause it, designated <em>Jagdquartett<\/em>, re-enacts a conspiracy of the three upper strings against the cello as a societal metaphor, it falls more within the realm of concept art. The acoustic signals of the violent string cascades chased the wild shouting of the players until the bow hairs of the instruments of the splendid Signum ensemble were flying and the exhausted and fatally wounded cellist was hunted down.\u201d<\/div>\n<div><\/div>\n<address>\u00a0<\/address>\n<div><em>Klaus P. Richter: \u201cWilde Jagd\u201d In: S\u00fcddeutsche Zeitung, 10 December 2014<\/em><\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-137  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.sueddeutsche.de\/\" target=\"_blank\" rel=\"noopener\">S\u00fcddeutsche Zeitung<\/a><\/h4>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p><em>No. 3<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-139  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\u201cThe high point is nevertheless the Bart\u00f3k quartet, whose gigantic contrasts are plumbed by the Signum Quartet with exquisitely expressive playing and with awe-inspiring tonal acuity in the dissonances.\u201d<\/div>\n<address>\u00a0<\/address>\n<div><\/div>\n<div><em>KLK: \u201cCD Tipp\u201d In: S\u00fcddeutsche Zeitung, 18 June 2014, own translation<\/em><\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-141  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.badische-zeitung.de\/klassik-rezensionen\/eine-explosion-der-emphase--80829096.html\" target=\"_blank\" rel=\"noopener\">Badische\u00a0Zeitung<\/a><\/h4>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p><em>An explosion of emphasis<br \/>\n<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-143  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\u201cTo hear Haydn played like this is unusual yet refreshing and invigorating as the four are technically capable of anything, to which also belongs their ability to return immediately to intimate and tranquil piani.\u201d<\/div>\n<p><em>Nikolaus Cybinski: \u201cEine Explosion der Emphase\u201d In: Badische Zeitung, 17 February 2014, own translation<\/em><\/p>\n<div><\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-145  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.musikderzeit.de\/en_UK\/journal\/issues\/showarticle,37323.html\" target=\"_blank\" rel=\"noopener\">Neue Zeitschrift f\u00fcr Musik<\/a><\/h4>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p><em>No. 3<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-147  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<p>\u201cYet this CD is worth it solely for the interpretation of Schnittke\u2019s Third Quartet: In a breathlessly gripping account, the Signum Quartet retraces the composer\u2019s grappling search for a valid standpoint on the stockpile of history, through which he has thoroughly sifted.\u201d<\/p>\n<p><em>Doris K\u00f6sterke: \u201cNo. 3\u201d In: Neue Zeitschrift f\u00fcr Musik, 01\/ 2014, own translation<\/em><\/p>\n<div><\/div>\n<\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-149  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.independent.co.uk\/arts-entertainment\/classical\/reviews\/classical-review-elder-and-the-halle-deliver-a-majestic-parsifal-the-signum-and-hadland-excel-in-brahms-8784965.html?origin=internalSearch\" target=\"_blank\" rel=\"noopener\">The Independent<\/a><\/h4>\n<p><em>BBC Proms 2013: &#8220;<i>Signum and Hadland excel in Brahms<\/i>&#8220;<\/em><\/p>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-151  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div>\n<div><\/div>\n<p>&#8220;Owing more to the influence of Bartok than to that of her tutor Ralph Vaughan Williams, its vibrant eloquence [Elisabeth Maconchy&#8217;s String Quartet No.3] was beautifully rendered by the Signum Quartet, who were then joined by Christian Ihle Hadland for a stunning account of Brahms&#8217;s Piano Quintet in F minor.&#8221;<\/p>\n<\/div>\n<div><em>Michael Church: Classical review: Elder and the Halle deliver a majestic Parsifal, the Signum and Hadland excel in Brahms. In: independent.co.uk. 26. August 2013.<\/em><\/div>\n<div><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-153  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.gramophone.co.uk\/review\/berg-bart\u00f3k-schnittke-string-quartets-no-3\" target=\"_blank\" rel=\"noopener\">Gramophone<\/a><\/h4>\n<div><em>No. 3<\/em><\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-155  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div><\/div>\n<div>\n<div><\/div>\n<p>&#8220;\u2026the Signum Quartet respond [to Berg op. 3] with an almost fulsome warmth of tone &#8211; perhaps assuming some hidden romantic programme, a Bergian <em>Verkl\u00e4rte Nach<\/em><i>t?<\/i>&#8221;<\/p>\n<\/div>\n<div><em>Arnold Whittall: Review. In: Gramophone, September 2013.<\/em><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-157  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/fonoforum.de\/\" target=\"_blank\" rel=\"noopener\">Fonoforum<\/a><\/h4>\n<div>\n<div><em>No. 3: &#8220;Prowling and scraping&#8221;<\/em><\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-159  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div><\/div>\n<div>\n<div><\/div>\n<p>&#8220;It is no longer enough to play &#8220;merely&#8221; outstandingly to assert oneself against the tough competition. An individual profile is demanded. The German Signum Quartet demonstrates this with their bold choice of programmes, as is the case with their most recent CD.&#8221;<\/p>\n<\/div>\n<div><em>Marcus St\u00e4bler: &#8220;Pirschen und Schaben&#8221; In: Fonoforum, August 2013. Own translation<\/em><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-161  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4>Ensemble<\/h4>\n<div>\n<div><em>No. 3: &#8220;3 times 3&#8221;<\/em><\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-163  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div><\/div>\n<div>\n<div><\/div>\n<div>&#8220;The expressive range which the Signum Quartet\u00a0audibly savours is astonishingly broad. [\u2026] With precision, lightning quick responses and an unwavering sense of style, the four musicians make this music to a gripping listening experience and prove how exciting the chamber music of the first half of the 20th century can be.&#8221;<\/div>\n<div>\n<p><em>Anna Renczikowski: &#8220;3 mal 3&#8221; . In: Ensemble, August\/ September 2013. Own translation<\/em><\/p>\n<div class=\"disc_pic_blank\"><\/div>\n<\/div>\n<\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-165  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.pizzicato.lu\/drei-mal-vier-genial\/\" target=\"_blank\" rel=\"noopener\">Pizzicato Magazin<\/a><\/h4>\n<div>\n<div>\n<div class=\"disc_pic\">\n<div class=\"disc_pic_one\">\n<div><em>No. 3: <i>&#8220;Three times four = brilliant&#8221;<\/i><br \/>\n<\/em><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-167  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div><\/div>\n<div>&#8220;This is a CD which elicits pure enthusiasm. Only a pity that it is already finished after 51 minutes. The Signum Quartet plays the three works of the 20th century with such conviction that one can only be amazed. When has one heard the Berg Quartet played so analytically as well as with such deep musicianship? When does a recording allow us to experience the music making so vividly? &#8220;<\/div>\n<address>\u00a0<\/address>\n<div><em>Alain Steffen: &#8220;Drei mal vier = genial&#8221;. In: pizzicato.lu, 03.10.2013. Own translation<\/em><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-169  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.br.de\/\" target=\"_blank\" rel=\"noopener\">br.de<\/a><\/h4>\n<div><em>Quartet Movements<br \/>\n<\/em><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-171  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div><\/div>\n<div>\n<p>&#8220;That all of this has an inner rightness, that the intrinsic, the essentially artistic prerequisites are not only met but are grounds for euphoria, all this can be heard on the wonderfully composed programme of their recent CD of quartet movements (\u2026) What a roller coaster ride of ardent emotions (\u2026); Colours, intensities!&#8221;<\/p>\n<p><em>Helmut Rohm: Quartetts\u00e4tze. In: br.de. 9. January 2012. Own translation<\/em><\/p>\n<\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-173  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/ndr.de\/\" target=\"_blank\" rel=\"noopener\">ndr.de<\/a><\/h4>\n<div><em>Quartet movements of the 19th and 20th centuries<br \/>\n<\/em><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-175  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div><\/div>\n<div>\n<p>&#8220;The Signum Quartet enlivens the music&#8217;s emotional characters with a considerable palette of expression (\u2026) A powerful recording with an entirely individual stamp.&#8221;<\/p>\n<p><em>Marcus St\u00e4bler: Quartetts\u00e4tze des 19. und 20. Jahrhunderts. In: ndr.de. 4. January 2012, own translation<\/em><\/p>\n<div><\/div>\n<\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-177  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.kulturradio.de\/\" target=\"_blank\" rel=\"noopener\">kulturradio.de<\/a><\/h4>\n<div><em>&#8220;Quartet Movements&#8221;<\/em><\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-179  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div><\/div>\n<div>\n<p>&#8220;On the one hand sophisticated and technically mature, on the other hand one can sense an inquisitiveness and astonishment \u2013 one can almost hear the musicians agape again and again at the unexpected sounds they themselves are producing. Maturity and experience are paired here with a delight in risk taking.&#8221; .&#8221;<\/p>\n<p><em>Volker Michael:&#8221;Quartet Movements&#8221;. In: kulturradio.de 6. January 2012. Own translation.<\/em><\/p>\n<\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-181  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"http:\/\/www.pizzicato.lu\/\" target=\"_blank\" rel=\"noopener\">Pizzicato Magazin<\/a><\/h4>\n<div>\n<div>\n<div class=\"disc_pic\">\n<div class=\"disc_pic_one\"><em>&#8220;With responsibilty and joy&#8221;<\/em><br \/>\n<em>Ludwig Thuille &#8211; String Quartets<\/em><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-183  el_after_av_one_third  el_before_av_one_third  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div><\/div>\n<div>\n<p>&#8220;This CD [of Ludwig Thuille&#8217;s string quartets] confirms the outstanding impression made by the Signum Quartet, which must already be counted among the best ensembles of its generation and need not hide behind renowned star quartets such as the Hagens or Emersons.&#8221;<\/p>\n<p><em>Alain Steffen: &#8220;Mit Verantwortung und Freude&#8221;. In: Pizzicato Magazine, 12\/2010. Own translation.<\/em><\/p>\n<address>\u00a0<\/address>\n<div><\/div>\n<\/div>\n<div><\/div>\n<\/div><\/section><\/div>\n<div  class='flex_column av-av_one_third-2a9015ff38129c418a3f2eafba3e9512 av_one_third  avia-builder-el-185  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>If you would like to receive a comprehensive press review, please contact:<\/p>\n<p>Philip Krippendorff<br \/>\nmaren borchers \u2022 for artists<br \/>\n<a href=\"http:\/\/forartists.de\/\" target=\"_blank\" rel=\"noopener\">www.forartists.de<\/a><br \/>\n<a href=\"mailto:philip.krippendorff@forartists.de\">philip.krippendorff@forartists.de<br \/>\n<\/a>+49-30-414 7817 41<\/p>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_two_third-2a64de42b738552fe666ca889af77e28\">\n.flex_column.av-av_two_third-2a64de42b738552fe666ca889af77e28{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-av_two_third-2a64de42b738552fe666ca889af77e28 av_two_third  avia-builder-el-187  el_after_av_one_third  avia-builder-el-last  flex_column_div av-zero-column-padding  column-top-margin'     ><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"acf":[],"_links":{"self":[{"href":"https:\/\/signumquartet.com\/en\/wp-json\/wp\/v2\/pages\/899"}],"collection":[{"href":"https:\/\/signumquartet.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/signumquartet.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/signumquartet.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/signumquartet.com\/en\/wp-json\/wp\/v2\/comments?post=899"}],"version-history":[{"count":69,"href":"https:\/\/signumquartet.com\/en\/wp-json\/wp\/v2\/pages\/899\/revisions"}],"predecessor-version":[{"id":4364,"href":"https:\/\/signumquartet.com\/en\/wp-json\/wp\/v2\/pages\/899\/revisions\/4364"}],"wp:attachment":[{"href":"https:\/\/signumquartet.com\/en\/wp-json\/wp\/v2\/media?parent=899"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}