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Andrew Achenbach
Gramophone, January 2015

No praise can be too high for these sublimely articulate and concentrated readings by the Villiers Quartet, for whose leader, James Dickenson, the whole project was very much a labour of love. Admirable sound and balance, too. © 2015 Gramophone Read complete review on Gramophone

Bob McQuiston
Classical Lost and Found, December 2014

…we have the Villiers Quartet to thank for resurrecting everything here. These technically accomplished musicians give us highly sensitive readings of Still’s remarkable works.

The recordings…project a suitably proportioned soundstage in warm surroundings with enough reverberation to soften the music without blurring it. © 2014 Classical Lost and Found Read complete review

Michael Church
BBC Music Magazine, December 2014

[Still’s]…Bartók-to-Seiber modernism of the Third and Fourth [quartets] reveals remarkable musical strength. Fine performances. © 2014 BBC Music Magazine

John France
MusicWeb International, October 2014

The Villiers Quartet has made these four string quartets their own…their interpretation of the later ‘atonal’ works is masterly.

This CD is a must for all enthusiasts of British chamber music. © 2014 MusicWeb International Read complete review

David Denton
David's Review Corner, October 2014

Robert Still was born in 1910 and spent his younger years surrounded by the fashionable world of the Second Viennese School in the age of stark atonality. He could not relate to those doctrines, as his roots had been firmly planted in the musical traditions of the late 19th century from where Vaughan Williams and the English pastoral community had their parentage.They were surely the perfect relatives to give his music credibility, though he found the music establishment of the day offered him no support, his works seldom included in broadcast performances. With dogged determination he continued to compose until his death at the age of 61, even though most of his output was never performed. In the early 1960’s he did seek to rethink his future compositions outside the world of tonality, with the hope it would find acceptance in the contemporary world around him. The changes it brought about can be evaluated in this new release containing his complete works for string quartet, though in the end his efforts gained him no greater acceptance. It is sad to recall that the only quartet ever performed was the First and couched in the world of Vaughan Williams. The Second—all of his quartets are undated—appears to come from around the same period, both being short, in three movements and of a happy countenance. The last two are longer; employ a four-movement structure, and embrace atonality. In a mood not far from Shostakovich, he tried to appeal to the listener in such moments as the march ending to the Third. I have to say that if you then append the name of a trendy 20th century composer, it would form part of the repertoire, though I guess their time will never come. That only makes us all the more grateful to the London-based, Villiers Quartet, who discovered the scores of the unperformed works and here give them their premiere recording. Beautifully recorded, I do hope you will share my passionate enthusiasm for the release. © 2014 David’s Review Corner

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