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Mark Novak
Fanfare, May 2016

…this Carpe Diem installment is another wonderful addition to the catalog of Russian quartets. © 2016 Fanfare Read complete review



Gavin Dixon
Fanfare, May 2016

…the Carpe Diem version is leaner, their readings are highly expressive, and always fully committed. © 2016 Fanfare Read complete review



Robert Markow
Fanfare, May 2016

The warmth of sound and fullness of texture Brahms consistently achieved are here in Taneyev…

The Carpe Diem plays…with a firm grip on the rhythm, full understanding of the architecture, unflagging momentum and an obvious love for the music. © 2016 Fanfare Read complete review




Daniel Jaffé
BBC Music Magazine, May 2016

Carpe Diem’s latest volume in their on-going series now truly blows away the cobwebs.

Even in slow movements, Carpe Diem score over their predecessors with notably more secure tuning by their viola player, Korine Fujiwara. © 2016 BBC Music Magazine



Göran Forsling
MusicWeb International, April 2016

The American Carpe Diem String Quartet have…devoted a lot of their time to contemporary music. Here though, when they throw their net more than one hundred years back in time, they come up with this echt-romantic music fresh as paint. They feel wholly involved in the idiom. The playing is assured, the recording is excellent and the annotations highly informative. © 2016 MusicWeb International Read complete review




Gary Lemco
Audiophile Audition, April 2016

The Carpe Diem String Quartet extends its gratifying traversal of Sergey Taneyev’s chamber music. © 2016 Audiophile Audition Read complete review



Tim Homfray
The Strad, March 2016

…an attractive, open-hearted work. The opening Allegro moderato has a captivating lyrical sweep and skipping staccato passages which the Carpe Diem Quartet plays with neat lightness of touch. © 2016 The Strad Read complete review



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, March 2016

The Carpe Diem String Quartet gives the music a fully dimensional reading, showing a full command of Taneyev’s vocabulary and a great respect, even a love of the works. They give us near ideal performances in this volume, and go a long ways in framing the music to bring out the finely wrought beauty of Taneyev at his best. Very highly recommended. © 2016 Gapplegate Classical-Modern Music Review Read complete review



Daniel Morrison
Fanfare, March 2016

The Taneyev Quartet is more relaxed and flowing and generates a more rapturous lyricism, while the Carpe Diem players apply greater forward pressure, stronger vertical stresses, and a more prominent cello presence. The differences between the two performances are perhaps most pronounced in the Adagio serioso slow movement, where the Carpe Diem rendition has much more impetus and contrasts markedly with the slow, dirge-like tread of the Taneyev Quartet. © 2016 Fanfare Read complete review



Barry Brenesal
Fanfare, March 2016

…the most successful of the three releases I’ve heard in this series so far. It also includes two works that should make for an excellent introduction to Taneyev’s chamber music: the frank, big-hearted Ninth, and the dazzling Sixth. Strongly recommended. © 2016 Fanfare Read complete review



Jerry Dubins
Fanfare, March 2016

Carpe Diem demonstrates a remarkable feel for this music, portamento and all. Taneyev’s writing may exhibit impeccable craftsmanship, but it’s also crafty and quite difficult, and not just in the very fast passages that require dexterity and perfect finger-to-bow coordination. Equally challenging is some of the ear-bending chromaticism which requires very precise intonation to clarify the harmonic direction. The Carpe Diem String Quartet excels in these areas, as well as in cultivating a truly beautiful, integrated ensemble tone.

Based on my hearing of these performances, I can’t imagine them being bettered. Very strongly recommended. © 2016 Fanfare Read complete review



Tully Potter
MusicWeb International, February 2016

The Carpe Diem foursome play fluently and…prepared the two works carefully, terracing and balancing the phrases. I would say their playing represents all things bright and beautiful, whereas the Leningraders…inject an added charge of Russian soul and project that indefinable air of command. © 2016 MusicWeb International Read complete review



Bob McQuiston
Classical Lost and Found, January 2016

…the Carpe Diem Quartet (CDQ) performs [these] works with exceptional sensitivity, attention to detail, and virtuosity to spare. That said, there are those who may feel these performances don’t have the “Russian Soul” of the Taneyev Quartet’s that appeared on five Russian-made, Northern Flowers CDs back in 2006.

However, the CDQ far surpass them in interpretive sophistication and technical ability. © 2016 Classical Lost and Found Read complete review



David Denton
David's Review Corner, December 2015

And so we come to the penultimate release in the complete string quartets by Sergey Taneyev, the Carpe Diem quartet breathing new life into forgotten music. Highly regarded in his younger days, having been a piano student of Nikolai Rubinstein and composition pupil of Tchaikovsky, he eventually became the influential Director of the Moscow Music Conservatory. It was there that his famous pupils, Rachmaninov, Gliere and Scriabin, proved his undoing. They were to bring new and hugely popular music onto the Russian scene, but their mentor could not move from the era in which he was a student. So he was to continue in an elegant view of Russian nationalism, and because he did not join in that new regime is no reason for us to forget his beautifully crafted music. Just turn to the disc’s soulful second track—the slow movement of the Ninth Quartet—and the bubbling scherzo that follows, to find the most readily attractive music ever composed for string quartet. There is, however, a problem with the numbering of the quartets, as the Ninth was among several that remained unpublished at the time of his death, and they were unfortunately given later numbers, the Sixth, in chronological order, being his last quartet. It dates from the first years of the 20th century and some twenty years after the Ninth, by which time he was often falling back on academia as the basis of music that had become rather threadbare in terms of thematic material. So here we have a strong and purposeful opening movement, that looks set fair for an imposing work, but then follows a rather uninteresting slow movement. A happy scherzo prepares for a return to the mood of the opening for the finale. With the young Carpe Diem’s obvious enthusiasm we must be most grateful for this enterprising series. © 2015 David's Review Corner





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