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The award winning Cuarteto Quiroga, one of the boldest, most personal and individual quartet sounds of Europe’s ne­west string quartet generation, presents this highly profiled CD program which features a musical trip in four stages, to state and claim the aesthetical recuperation for performance practice of the very nature that constitutes string quartet as musical genre: Challenge. These four works are the State­ment of three composers confronted with the Challenge of their time.The op.20 nr 2 was one of Haydn’s most interes­ting statements as a response to the challenge of integrating the old forms into a new style of music writing, to configure a new stylistic horizon.

Webern’s Langsamer Satz, the state­ment of a young composer facing the challenge of a musical language about to collapse. Here Webern is the keystone that leads into a fascinating solution, turn of a new era. His own Op.5 represents the Statement of what he himself saw later as the natural way of writing new music. Poetry and Culture of Composition combined in the most expressive minutes of quartet music ever written.

And finally, Giovanni Sollima, the voice that has stated a possible, brilliantly eclectic way of ap­proaching the challenge of composition for a generation who cannot escape the mediatic influence of popular music.

Four musical Statements in the Statement of a quartet for our time who gives us in this first-recording a sharp, individual and bold reading of String Quartet as a cultural phenomenon: testimony of our european culture, challenge of our future ways.


Divertimento a quattro - Moderato
Divertimento a quattro - Capriccio - Adagio
Divertimento a quattro - Menuet - Allegretto
Divertimento a quattro - Fuga a 4 tro soggetti
Langsamer Satz
Funf Satze fur Streichquartett Op: 5 - Heftig bewegt
Funf Satze fur Streichquartett Op: 5 - Sehr langsam
Funf Satze fur Streichquartett Op: 5 - Sehr bewegt
Funf Satze fur Streichquartett Op: 5 - Sehr langsam
Funf Satze fur Streichquartett Op: 5 - In zarter Bewegung
Sonnets et Rondeaux - I Sonnet
Sonnets et Rondeaux - II Rondeau, Allegro
Sonnets et Rondeaux - III Sonnet, Lento
Sonnets et Rondeaux - IV Rondeau, Allegro
Sonnets et Rondeaux - V Sonnet
Sonnets et Rondeaux - VI Rondeau, Allegro

Additional information

Digital Converters

dCS 904 AD / 954 DA


Mastering Engineer

Tom Peeters

Mastering Equipment

KEF Reference series 107


B&K 4003, modified by Rens Heijnis

Mixing Board

Rens Heijnis custom made


Tom Peeters

Recording Engineer

Tom Peeters

Recording location

Reswoude, The Netherlands

Recording Type & Bit Rate


Recording Software



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Press reviews

Positive feedback Jan 2023

Spanning over 200 years, Cuarteto Quiroga explores what it means to write for a string quartet. In each case, the composer is making a statement about the music and where they wish to take it. Cuarteto Quiroga begins with the second of Haydn’s Opus 20 string quartets: Divertimento a quattro Op. 20, No. 2 (1772). It is a work redolent in humor, drama, craftmanship, irony, lyricism, simplicity and boldness. Whew, what a list! Let’s say it is Haydn laying down his expectations for where music needs to be moving. It is the beginning of his Sturm und Drang period of compositions that become more and more fully explored as he proceeds through the remaining quartets in his Opus 20 series of six quartets. He is exploring new harmonic territory in which the qualities of each individual instrument are emphasized.

Anton Webern (1883-1945), more than one hundred years later, faces the exhaustion of the Romantic idiom. His choice is to challenge himself and others to a new direction with the composition of his Langsamer Satz (Slow Movement) in 1905. This is a single movement from what was to be a longer quartet but which Webern never finished. It is a highly charged work, clearly rooted in post-Brahmsian romanticism and tonality, and expressing a plethora of emotions. From this beautifully tonal masterpiece, the Cuarteto Quiroga then move to Webern’s Five Movements for String Quartet, Op. 5 (1910). a startling brief composition at a bit over 12 minutes. It is completely atonal and bristling with strange sounds from extended playing techniques, and arguably even more radical  than Schoenberg’s infamous second string quartet of 1908.

The album concludes with a first recording of a work written in 2008Sonnets et Rondeaux, by Giovanni Sollima (b. 1962). Sollima is a composer of a newer generation which cannot escape the omnipresent influence of popular music and which flirts in a brilliant, instinctive and irreverent eclecticism with different traditions: from various folkish patterns of European cultures to minimalism and cinema. 

This is excellent programming! An educational journey combined with outstanding music. And beautifully performed by Cuarteto Quiroga who fill the album with stylish energy. 


Welcome to the trenches: the splendid Cuarteto Quiroga shows off his versatility and sonic richness. Magnificent and exiting the consecutive listening of Haydn and Webern. A debut CD to be praised and saluted in the battlefield of discography.

El Cultural (El Mundo)

A record adventure to be acclaimed. A truly agile, refreshing and transparent interpretation: just as it should be.

Klassieke Zaken

It is virtually unimaginable how easily the tones flow from the hands of the Cuarteto Quiroga (…) we just hear a string quartet playing of a rarley heard beauty.

De Volkskrant

Few string quartets manage to achieve such a sophisticated, meticulous sound as the Cuarteto Quiroga on their debut CD (…) which can be listened to as an aesthetic manifesto. (…) One could not wish anything more in terms of unity and insight into performance.

Ritmo (Spain)

The Cuarteto Quiroga has just recorded a beautiful and exellent CD. A truly successful combination of elegance and good taste.

Babelia (El País)

“Here you have performances of the highest possible level.” 6.25 out of 5

“The small selection of outstanding, under the slogan, Statements’ subsumed quartets not only their respective point values ??are discussed in the well over 250 years constantly evolving discipline, but also made immense demands on the interpretive skills.
Maximum range of expression, balance of individual voices, articulatory precision and uncommon transparency prove time outlasting paradigms that brought the genre already 1810, purest, most perfect presentation ‘(AmZ).”
“Thus, it is only logical to juxtapose different stations of a class story that can be tied together in their advanced aspirations. And the Cuarteto Quiroga can prove how confident it is understood to move between musical styles.”


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