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Julian Haylock
The Strad, January 2014

The Carpe Diem players perform this music with the same devoted intensity as if they were rediscovering a lost work by Tchaikovsky…With its restless shifting of stylistic focus this is music that is by no means easy to keep on interpretative track, yet the players here communicate such delight in the Russian’s quirky inspiration that the ear is led effortlessly on. Well worth investigating. © 2014 The Strad Read complete review



Byzantion
MusicWeb International, September 2013

…the Carpe Diems display a good deal of poise and commitment to Taneyev’s deserving cause…the Carpe Diem Quartet’s set is the one to have. Audio quality is very good in its way…and Anastasia Belina-Johnson’s booklet notes are interesting and well written. © 2013 MusicWeb International Read complete review



Bob McQuiston
Classical Lost and Found, July 2013

…the Carpe Diem gives us superb accounts of both works with virtuosity to spare.

…the recordings present a wide soundstage in a sere studio environment. The string tone is musically bright, and the individual instruments clearly delineated revealing all the subtleties of these intricately structured quartets. © 2013 Classical Lost and Found Read complete review



David Denton
David's Review Corner, July 2013

It was to be the music of his pupils, Rachmaninov, Glière and Scriabin that removed Sergey Taneyev works, even in his lifetime, from the concert repertoire. He had been a piano student of Nikolay Rubinstein and composition pupil of Tchaikovsky, eventually becoming the influential director of the Moscow Music Conservatory. Yet, unlike his pupils, he could not stylistically move forward with the times, his elegant scores far removed from the rough-hewn music of his contemporaries. The two string quartets here recorded—which date from 1903 and 1880—belonging to a previous generation, and if today they are seldom played, I have an affection for them, having ‘discovered’ them many years ago. I would concede that at times they have an academic rectitude, but would counter that by pointing to the freshness of the bubbling happiness of the finale to the Seventh Quartet. It was a work from his youth that was not published till much later, hence its high number. The Fifth was written twenty-three years later, each movement thoughtfully shaped, the scherzo movement being most pleasing, with the short finale rounding off a score of so many delights. The American-based Carpe Diem Quartet has made a study of the composer, and, forgetting some moments of quirky intonation, they play the works with much affection, and I commend them to you. A transparent sound in a relatively dry acoustic of a natural quality. © 2013 David’s Review Corner






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6:21:58 PM, 19 April 2014
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