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Bayan Northcott
BBC Music Magazine, May 2018

…The programme’s impact is slightly qualified by the choice of two quartets in the same key, but it is quite beautifully performed. Three of the four young players of the Goldmund Quartet were already playing chamber music together in their Munich schooldays, and their rapport tells in the unanimity, balance and radiance of their articulation and sound, while their wide variation of nuance, colour and vibrato suggests a searching musicality. © 2018 BBC Music Magazine  Read complete review

Jerry Dubins
Fanfare, May 2017

As one would expect of any recently formed group of young, well-trained, professionally mentored, highly polished, prize-winning musicians, the Goldmund Quartet performs Haydn’s quartets with impeccable technique and taste. © 2017 Fanfare Read complete review

Stephen D Chakwin Jr
American Record Guide, March 2017

This young German ensemble plays beautifully with a light touch, fleet tempos, and no disfiguring HIP mannerisms. The first two works shine with this treatment.

I think this quartet has a bright future ahead of it… © 2017 American Record Guide Read complete review on American Record Guide

Richard Bratby
Gramophone, January 2017

The Goldmunds make a beautiful sound, elegant and transparent, with a real sense that these four players are friends both on and off the concert platform. From the very opening of Op 1 No 1—and the bright, buoyant feeling of an ensemble tugging at the leash—it’s clear that they take this music as seriously as it demands.

…very attractive readings, and you’re never in any doubt that even the Goldmunds’ misjudgements are born of love. © 2017 Gramophone Read complete review on Gramophone

Peter Quantrill
The Strad, December 2016

An acute sense of timing distinguishes both music and interpretation in this promising recorded debut from the Munich-based Goldmund Quartet. These performances show how the players understand that silences and pauses always mean something in Haydn, as a means of disconcertion or of gathering thought. © 2016 The Strad

David Denton
David's Review Corner, October 2016

You have to return to Naxos’s early releases, twenty-five years and more ago, to find the first discs in the highly acclaimed Haydn quartet cycle from the Kodaly Quartet. Very similar in approach, this newcomer to the catalogue comes from the young award-winning, and much acclaimed German group, the Goldmund Quartet. They too concentrate on a refinement and elegance in performances that never come between the listener and composer. Throughout they have a warmth of tone; tempos are unhurried as they shape phrases with a natural musicality, while inner voices are given a more prominent role than we usually experience. Dynamics are never exaggerated, though I would have welcomed the greater range we hear from the recordings made by The Lindsays, where, for instance, they pointed out those explosive sforzandos in the scherzo of the Fifth of opus 55. Haydn certainly could be more than bucolic at times, but the Goldmund—like the Kodaly—look on his quartets in a wonderfully civilised musical world, where the slow movements are an exposition of mellow and beautiful playing. Apart from the Kodaly and the Lindsays—with their two extremely different approaches—there are so many outstanding recordings available that are played with technical perfection, and here I have to point to passing moments, especially in fast passages, where I question the leading violin intonation. Recorded in a spacious acoustic, the texture is clean and ideally delineated, the balance between instruments perfectly judged both by the performers and engineers. © 2016 David’s Review Corner

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