En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Edinburgh Quartet

The Edinburgh Quartet in a programme of early works showing promise - then and now - and radical change of direction. 

The Edinburgh Quartet in a fine examination of Mendelssohn, Schumann, influence and originality.

The Edinburgh Quartet and guests delight in the city where Hans Gál spent many productive years.

The Edinburgh Quartet conclude their excellent mini-series of Late Session concerts at Edinburgh's 'Summerhall' featuring the music of James MacMillan.

The Edinburgh Quartet in the second of a series of three explorations of James MacMillan's string quartet writing at Edinburgh's Summerhall.

With composer James MacMillan in attendance, this Edinburgh Quartet concert confirmed that the group has audience attraction and engagement at its core.

Dr Roger B. Williams’ scholarly yet accessible programme notes highlighted the fact that Haydn’s 1793 String Quartet no. 57 in C major was, unlike some chamber music, written with an audience of the general public in mind. Call it biographical fallacy, but I felt I could hear this in the presentation of the opening bars.

Inclement weather stalks the Edinburgh Quartet; at least, those concerts which I’ve attended in the past few months. On cue the early evening heavens opened unstintingly. By the time the concert approached it had “faired”, as the Scots sometimes say, but perhaps disinclination to venture out had been irreversibly embraced by some. That’s not to say that the attendance was poor.

Formerly St Andrew’s Church, until pairing up with St George’s at the West End of the city, this Andrew Fraser building is doubly unique: it was the first elliptical church in Scotland; it has the oldest “peal of bells” in the country. Sadly silent since 2002, the bells are thought to have inspired Lady Nairne’s folk song Caller Herrin’.

The raison d’être of the Edinburgh Quartet’s “Late Sessions” is to take string quartet repertoire to those who might not yet consider a formal concert the ideal evening out.This particular performance took place in the Lounge Bar of Teviot House, Edinburgh.

Edinburgh’s 1869 church of St George’s West is a fine example of the prolific output of local architect David Bryce (1803–76). On this particularly chilly evening (inside and out), it hosted an Edinburgh Quartet “Rush Hour Concert” which featured an interesting take on format and programming.