DVORAK STRING QUARTET NO.2, BAGATELLES, RONDO

"Some of the best Dvorak playing ever comes from the veteran American Fine Arts Quartet, who are already 2 albums in their cycle. The first, Spirit of Bohemia, is excellent but the second, Quartet 2, is even finer (Naxos)...The fillers, in this case the Bagatelles, prove to be gems. This quartet is unbelievably good (better than the old iterations), and I’ve previously recommended their Mozart Piano Concerto transcriptions with wonderful pianist Alon Goldstein (Naxos), several albums’ worth of delights."(cheaptubeaudio.blogspot.com, 25 March, 2024) https://cheaptubeaudio.blogspot.com/2024/03/streaming-classical.html

"The Fine Arts Quartet touchingly captures the Bohemian character, the folk song-like quality that is a basic element in Dvorak’s music. Lots of charm, a soft sound and supple bowing provide the necessary lightness and a slight smile behind the notes. This grace can also be found in the string quartet – here, however, it comes across more as intimate passion, which is transformed into convincing expressivity through the daring harmonies. Despite the quasi-rhapsodic structure of the work, the Fine Arts Quartet never allows the songfulness of Dvorak’s music to be forgotten by finely differentiating the forward-looking harmonies so that the composition never becomes piecemeal. This also applies to the dance-like moments, which appear again and again and form an exciting symbiosis with Dvorak’s new ideas in this interpretation – in a quartet that also formally dispenses with classical structures." (Guy Engels, Pizzicato, 12 January, 2024) https://www.pizzicato.lu/dvorak-der-kuhne/

"In beiden Werken trifft das Fine Arts Quartet in berührender Manier den böhmischen Charakter, das Volksliedhafte, das in Dvoraks Musik ein Grundelement ist. Viel Charme, ein weicher Klang und geschmeidiger Bogenstrich sorgen für die nötige Leichtigkeit und ein leichtes Schmunzeln hinter den Noten. Diese Anmut findet sich auch im Streichquartett wieder – hier wirkt sie allerdings eher als intime Leidenschaft, die sich über die gewagten Harmonien in überzeugende Expressivität wandelt. Trotz der quasi rhapsodischen Anlage des Werkes, lässt das Fine Arts Quartet die Gesanglichkeit von Dvoraks Musik nie vergessen, indem es die vorausschauende Harmonik fein ausdifferenziert, so dass aus der Komposition nie Stückwerk wird. Dies gilt ebenso für die tänzerischen Momente, die immer wieder auftauchen und in dieser Interpretation eine spannende Symbiose mit Dvoraks neuen Ideen eingehen – in einem Quartett, das auch formal auf klassische Strukturen verzichtet. (Guy Engels, Pizzicato, 12 January, 2024) https://www.pizzicato.lu/dvorak-der-kuhne/

"The Fine Arts Quartet is a fabulous ensemble (Ralph Evans, Efim Boico, violins; Gil Sharon, viola; Niklas Schmidt, cello)...The Fine Arts Quartet have the full measure of the composers expressive way here, and as the music becomes more animated (six-seven minutes in), it is as if a ray of sunlight traverses the texture. All credit to Ralph Evans for traversing the high-lying passages so well around the ten-minute mark...Evans' violin sings eloquently, as does Niklas Schmidt's cello, while Gil Sharon makes a lovely, warm viola sound. All four parts intertwine perfectly. The shift to the Allegro giusto is exquisite, and exquisitely managed here. The textures Dvořák writes are often quite bare, and it takes a fine quartet to honour them, to give them fragility rather than just have them sound skeletal...A most satisfying disc full of loving performances." (Colin Clarke, Classical Explorer, Jan 25, 2024) https://www.classicalexplorer.com/dvo/

"Se tratan de obras de salón encantadoras y de gran interés para seguir el pulimiento del compositor, y el Cuarteto las interpreta con un aire ligero y genial, comprometidos con la música, dejan la impresión de que tocan casi sin esfuerzo y evitan por completo la pretensión...Felicitaciones al Fine Quartet por un programa atrevido que ofrece algunos hallazgos reales que hasta entonces pocas veces se habían grabado." (Luis Suárez, Tarraco’s Culture Club, January 2024)

"These are charming salon works and of great interest to follow the composer's polish, and the Quartet performs them with a light and genial air, committed to the music, leaving the impression that they play almost effortlessly and completely avoiding pretension...Congratulations to the Fine Quartet for a daring program that offers some real finds that until then had rarely been recorded." (Luis Suárez, Tarraco’s Culture Club, January 2024)

"The venerable Fine Arts Quartet is to be commended for a genuinely adventurous program...a wonderful romp through some odd corners of the Dvořák repertory that will be valued highly by those who love the composer." (James Mannheim, AllMusic, March, 2024)

MOZART PIANO CONCERTOS NO.19 & NO.25 in Lachner Chamber Versions

"Das Fine Arts Quartet und Alon Goldstein setzen die Einspielung der Mozart-Konzerte in Transkriptionen von Ignaz Lachner fort. In diesen Interpretationen wird in bester Mozart-Tradition gespielt. Die Interpreten bleiben sich selber treu und vertreten ihren Mozart-Stil auf schönste Weise, melodisch, hell im Klang, federnd in der Artikulation und mit dem nötigen Drive, aber auch gefühlvoll, wo es angebracht ist. Die beiden Konzerte gelingen ihnen mit wunderbarer Ausgeglichenheit, und sie präsentieren einen durchgehend schönen Mozart, farbenfroh, stimmig in der Balance und spieltechnisch einwandfrei." (Norbert Tischer, Pizzicato, 18 Dec 2023)

The Fine Arts Quartet and Alon Goldstein continue their recording of Mozart concertos in transcriptions by Ignaz Lachner. These interpretations are played in the best Mozart tradition. The performers remain true to themselves and represent their Mozart style in the most beautiful way, melodic, bright in sound, bouncy in articulation and with the necessary drive, but also sensitive where appropriate. The two performances have a wonderful balance, and they present a consistently beautiful Mozart, colorful, harmonious and technically flawless."
(Norbert Tischer, Pizzicato, 18 Dec 2023) https://www.pizzicato.lu/reduzierter-mozart/

"Kendetegnende for denne nye, fjerde udgivelse i “rækken” er en virtuost moden tilgang til materialet såvel som instrumenterne. Alle musikere – solist såvel som kvartet – fremstår ekvilibristiske, i stand til at håndtere både hurtige og rolige passager på en måde, der får lytteren til at føle sig taget ved hånden og ledt ind i værkernes fine facetter. Især forekommer klaverkoncert nr. 25 mig at være formfuldendt i Goldsteins og Fine Art Quartets udgave. 2. og 3. sats er urimeligt smukke størrelser, som på enhver måde aftvinger respekt." (Ivan Rod, December 2023)

"Characteristic of this new, fourth release in the "series" is a virtuosically mature approach to the material as well as the instruments. All musicians – soloist as well as quartet – appear balanced, able to handle both fast and calm passages in a way that makes the listener feel taken by the hand and led into the fine facets of the works. In particular, Piano Concerto No. 25 seems to me to be fully formed in Goldstein's and the Fine Art Quartet's version. The 2nd and 3rd movement are unreasonably beautiful sizes that command respect in every way." (Ivan Rod, December 2023)

★★★★"On ne saurait trop tarir d’éloges sur la redécouverte des arrangements d’Ignaz Lachner (1807-1895) des concertos pour piano de Mozart avec orchestre réduit à un quatuor et à une contrebasse. ...Goldstein et les Fine Arts ont déjà enregistré pour Naxos les Concertos nos 9, 17, 20, 21, 23 et 24. Notre enthousiasme à la découverte, notamment, des Concertos nos 9 et 17 en 2021 se transpose pleinement ici, notamment dans le 19e Concerto, qui se prête si parfaitement à l’exercice...Ce disque est à nouveau un tel ravissement que voici bien une discipline qu’on aimerait vivre au concert." (Christophe Huss, Le Devoir, 26 janvier 2024)

★★★★"We cannot praise enough the rediscovery of Ignaz Lachner’s (1807-1895) arrangements of Mozart’s piano concertos with an orchestra reduced to a quartet and a double bass...Goldstein and Fine Arts have already recorded for Naxos the Concertos 9,17,20,21,23 and 24. Our enthusiasm for discovering, in particular, Concertos 9 and 17 is fully transposed here, particularly in the 19 Concerto, which lends itself so perfectly to the exercise...This disc is once again such a delight that here is indeed a discipline that we would like to experience in concert." (Christophe Huss, Actual News Magazine, January 26, 2024)

"Those who listen to this release...will be rewarded by some richly melodic music abounding in expression, energy, and emotion... For those who love the Mozart piano concertos – and I doubt there are many classical music lovers who do not – this recording will not only prove rewarding in its own right, but it will complement and enhance other recordings of these concertos. Highly recommended." (Karl Nehring, Classical Candor, January, 2024)

ENESCU: EARLY CHAMBER MUSIC

"The Fine Arts [Quartet] and the two pianists on the program bring great spirit to these works, and Naxos’s recorded sound is fine. …This is a very attractive disc" (Henry Fogel, Fanfare, January 2024)

"A welcome chance to explore the early works of a Romanian master (headline)...The Fine Arts Quartet is impressive, with finely honed phrasing and good characterisation, while the two pianists offer elegant support" (Joanne Talbot, The Strad, September 13, 2023)

"A very elegant rendition of intimate, warm and passionate Enescu works. (headline)...The playing is truly excellent - extremely sensitive and elegant...This is definitely a great recording to listen to - and I would have absolutely no hesitation in recommending it." https://afterthelastnote.com/a-very-elegant-rendition-of-intimate-warm-and-passionate-enescu-chamber-works/ (Vlad Bourceanu, After the Last Note, August 19, 2023)

"The Fine Arts Quartet, together with the pianist Gisele Witkowski,gives an all-around successful interpretation...The other works recorded also indulge in beautiful music...In particular, the 1st Romanian Rhapsody, iconic of Enescu’s work, takes on a character here as if it were being performed in a coffee house. All of the pieces acquire the kind of sepia tinge found in old photographs. This is certainly pleasant to hear and the quartet is well supported by the other participants: Fabio Witkowski on piano as well as on double bass Alexander Bickard." (Pál Körtefa, Pizzicato, August 2023)

"There is a good deal of pure enjoyment on this release by the venerable Fine Arts Quartet and the Witkowski Piano Duo...The balances among the instruments are cleverly handled and well played by the musicians here...This release will be enjoyable and of interest beyond just Enescu fans." (James Manheim, Allmusic.com, September 2023)

"Le Quintette avec piano en ré majeur (1896) s’impose comme une œuvre de premier plan, certes marquée par Brahms (jusque dans l’éblouissant finale à la hongroise, évoquant celui de l’Opus 25), mais d’un lyrisme puissant. Les Fine Arts et la pianiste brésilienne Gisele Witkowski s’y jettent avec passion." (Jean-Claude Hulot, Diapason, December 2023)

"The Piano Quintet in D major (1896) stands out as a first-rate work, certainly marked by Brahms (even in the dazzling Hungarian finale, evoking that of Opus 25), but with a powerful lyricism . The Fine Arts and the Brazilian pianist Gisele Witkowski throw themselves into it with passion." (Jean-Claude Hulot, Diapason, December 2023)

DVOŘÁK: STRING QUARTET NO.4/STRING SEXTET/ POLONAISE (Spirit of Bohemia)

CRITIC'S CHOICE "Credit must be given to the Fine Arts Quartet right off the bat; in assembling this album, they sidestepped the usual suspects in the Dvorak canon...Now in its 75th year, the Fine Arts Quartet has seemingly recorded everything...That’s worth quite a bit." (American Record Guide, July 2021)

"Despite the composer’s odd regret around opus 19 both works are pure joy to listen to, not least because the American Fine Arts Quartet – perform chamber music of a supreme character with a fully beautiful sound and a nice feeling for Dvořák’s musical distinctiveness." (Peter Dürrfeld, Kristeligt Dagblad, June 2021)

"Intimate, chamber-style performances capture the music’s gentle charm." Julian Haylock, The Strad, May 2021)

"Dvořák’s Adventurous Fourth Quartet Gets Solo Billing. Happily, the Fine Arts Quartet does an excellent job allowing the music to unfold on its own terms, offering sensitive, well-balanced, and timbrally vibrant playing that sustains the piece over its entire length...I can recommend this release without hesitation." (David Hurwitz, ClassicsToday.com, April 2021)

"The three-part String Quartet No. 4, impetuous and almost wild except for the middle Andante religioso, was one of those works that Dvorak wanted to destroy in 1870, and yet parts survived so that it could be published some 100 years later in 1968. The Fine Arts Quartet plays the fast parts very passionately and grippingly. The Andante religioso, whose theme Dvorak reused in later works, is interpreted most sensitively. The final short Polonaise for cello and piano is agreeably brilliant and virtuosic." (Remy Franck, Pizzicato, April 2021)

"A most desirable release." (David Denton, David’s Review Corner, March 2021)

"The augmented Fine Arts gilded their playing with affectionate beauty. In superb recorded sound, a highly desirable release comes from Naxos." (Yorkshire Post, February 2021)

"This is an exceptionally fine recording, in places quite interesting and in others entertaining." (Lynn René Bayley, The Art Music Lounge, February 2021)

"Das dreiteilige, bis auf das mittlere Andante religioso ungestüme und fast wilde Streichquartett Nr. 4 war eines jener Werke, die Dvorak 1870 zerstören wollte, und dennoch blieben Teile erhalten, so dass es rund 100 Jahre später, 1968 veröffentlicht werden konnte. Das Fine Arts Quartet spielt die schnellen Teile sehr leidenschaftlich und zupackend. Das Andante religioso, dessen Thema Dvorak in späteren Werken wiederverwendet hat, wird gefühlvoll interpretiert. Die kurze Polonaise für Cello und Klavier beendet das Programm brillant und virtuos." (Remy Franck, Pizzicato, April 2021)

MOZART PIANO CONCERTOS NO.9 & NO.17 in Lachner chamber version

"This beautiful recording was preceded by another pair of Mozart piano concertos transcribed for string quartet, double bass, and piano by the 19th-century German musician Ignaz Lachner and recorded by these same musicians… I greatly enjoyed the elegant pianism of Goldstein and the lush toned sound of the venerable Fine Arts Quartet in that earlier recording, and my enthusiasm is no less intense for this new issue." © (Peter Burwasser, Fanfare, September 2021)

"Alon Goldstein and the Fine Arts, who sound marvellous, have made the perfect summer recording."(Christophe Huss, Le Devoir, July 2021)

"The dazzling clarity of Goldstein’s piano is finely matched by the quartet and double bassist Alexander Bickard...full of expressive and balanced interplay between soloist and musicians." (BBC Music Magazine, April 2021)

"Goldstein’s superb playing, which is equally matched and supported by the Fine Arts Quartet, with Alexander Bickard coming in on double bass, is one of the undeniable strengths of this new Naxos CD, together with the fidelity of the recording." (Philip R Buttall, MusicWeb International, March 2021)

"Mozart Piano Concertos Nos. 9 & 17 in Lachner’s arrangement for piano sextet were recorded for Naxos by Alan Goldstein, the Fine Arts Quartet, and double bassist Alexander Bickard. Like the previous release, this one is very pleasing. Lively but also, when necessary, soulful performing makes these recordings a pure listening pleasure. The tonal balance is optimal and the sound…powerful and full-bodied. (Remy Franck, Pizzicato, February 2021)

"Mozart Klavierkonzerte Nr. 9 & 17 in Lachners Bearbeitung für Klaviersextett wurden von Alan Goldstein, dem Fine Arts Quartet sowie dem Kontrabassisten Alexander Bickard für Naxos aufgenommen. Wie die vorausgegangene Veröffentlichung ist auch diese sehr gefällig. Ein lebendiges, aber auch, wenn nötig, gefühlvolles Musizieren macht diese Aufnahmen zu einem puren Hörvergnügen. Die klangliche Balance ist optimal und der Klang ist bei aller Transparenz doch kräftig und volltönend." Remy Franck, Pizzicato, February 2021)

BEETHOVEN: FUGUES AND RARITIES for string quartet

"Het Fine Arts Quartet speelt met een ouderwets elan. Hun vakmanschap en speelmanier roept herinneringen op aan de grote strijkkwartetten van de vorige eeuw. Daarmee maken zij deze zeldzaamheden tot ‘gewoon’ geniale kwartetmuziek van Beethoven". (Machiel Swillens, Luister, September 2022)

"The Fine Arts Quartet plays with an old-fashioned elan. Their craftsmanship and way of playing evoke memories of the great string quartets of the last century. In doing so, they turn these rarities into 'simply' brilliant quartet music by Beethoven. (Machiel Swillens, Luister, September 2022)

Empfehlungen der Redaktion

"Das Fine Arts Quartet überzeugt in seiner neuer Beethoven-CD vom ersten Takt an durch große Frische, Klarheit und Durchhörbarkeit, durch kluge kontrapunktische Ausarbeitung und fein ausgehörtes Zusammenspiel...Der beherzte Zugriff des Fine Arts Quartet vermeidet aber jeden auch nur leisen Gedanken an trockenen Akademismus, vielmehr ist die kontrapunktische Kunst nicht nur Beethovens, sondern nicht minder jene der Streichquartettmusiker unmittelbar zu erleben. Das Programm endet mit...der Großen Fuge B-Dur op. 133, das die Musiker in großer Tiefe durchdringen...zeigt die große Kunst der Quartettmusiker. Dabei erfolgt keinerlei Glättung der kontrapunktischen Strukturen, vielmehr werden die einzelnen Stimmen wie auch ihre Interaktion untereinander in großer Klarheit und mit viel Verständnis... Ein wesentlicher Beitrag zum Beethoven-Jahr." (Dr. Jürgen Schaarwächter, Klassik.com, 23-03-2020) https://magazin.klassik.com/reviews/reviews.cfm?TASK=REVIEW&RECID=35847&REID=18797

Critics' Choice "The Fine Arts Quartet convinces in its new Beethoven CD from the first bar with great freshness, clarity and audibility, through clever contrapuntal elaboration and finely listened to interplay ... The courageous approach of the Fine Arts Quartet avoids even the slightest thought of dry Academism, rather, the counterpoint art is not only to be experienced directly by Beethoven, but no less by that of the string quartet musicians. The program ends with...the Great Fugue in B flat major, op. 133, which the musicians penetrate deeply ...shows the great art of quartet musicians. There is no smoothing of the counterpoint structures, rather the individual voices and their interaction with one another are presented with great clarity and understanding...An essential contribution to the Beethoven year." (Dr. Jürgen Schaarwächter, Klassik.com, 23-03-2020)

"The string quartets are among the finest works in music, but Beethoven composed other works for quartet which have been overlooked—such as the rarities found here. We have the original versions of his quartets Op. 18, No. 1 and Op. 131, plus six unknown miniatures, including his Preludes and Fugues. All are impeccably played by the Fine Arts Quartet." (Barry Forshaw, Classical CD Choice, February 2020)

"The Fine Arts Quartet in their most elegant mode...The Grosse Fuge...is one of the greatest fugues ever composed, and the Fine Arts afford it a performance of considerable strength and vigour, the complex construction captured with clarity as each instrument is weighted with due care and attention."
(David Denton,David's Review Corner, January 2020)

"De Strijkkwartetten van Beethoven behoren tot de grootste werken in hun genre, maar hij componeerde ook andere werken voor kwartet die werden verwaarloosd. Deze cd is gewijd aan deze intrigerende zeldzaamheden...Op deze nieuwe opname is het Fine Arts Quartet in hun meest elegante doen...Het is een van de grootste fuga’s die ooit zijn gecomponeerd en Fine Arts biedt een uitvoering van aanzienlijke kracht. De complexe constructie werd met helderheid vastgelegd omdat elk instrument met de nodige zorg en aandacht werd behandeld en het vermijdt een te nuchtere benadering." "The Fine Arts Quartet is at their most elegant in this new recording...The Grosse Fuge is one of the greatest fugues ever composed, and Fine Arts offers a performance of considerable power. The complex construction was captured with clarity as each instrument was treated with due care and attention and it avoids an overly sober approach." (Michel Dutrieue, Stretto, January 2020)

"No performances I’ve heard of any of these pieces surpass these performances by the venerable Fine Arts Quartet.…I can heartily recommend the Fine Arts Quartet as the chef de cuisine." (Jerry Dubin, Fanfare, July 2020)

"Charme und Intensität: Neue Einspielungen vom Fine Arts Quartet und von der Cappella Aquileia machen das Beethoven-Jahr zu einem Vergnügen." (Wolfgang Schreiber, Süddeutsche Zeitung, 3.August 2020) https://www.sueddeutsche.de/kultur/neue-cds-klassikkolumne-1.4987554

5 STARS: "El Fine Arts Quartet rinde su particular homenaje al genio de Bonn con una grabación discográfica...con una elegancia, una claridad, un cuidado y una atención impecables." (María del Ser, Ritmo, May 2020)

"Las otras ocho piezas son muy interesantes (preludios, fugas, allegrettos) pero el más sólido es una Grosse Fugue, auténtica exhibición de bravura del estupendo cuarteto americano." (Scherzo, May 2020)

“Os músicos do Fine Arts Quartet, tradicional conjunto norte-americano cuja primeira formação remete à década de 1940, sabem disso e oferecem neste disco uma leitura de alta voltagem da peça. O CD, no entanto, vai além em seu conceito: além da Grande fuga, os músicos registraram algumas raridades: as versões originais dos Quartetos no. 1 op. 18 e op. 131, assim como seis miniaturas que raramente são ouvidas, incluindo prelúdios e fugas. O resultado é um álbum que, nos 250 anos do compositor, mostra algumas de suas facetas ocultas, revelando também novos olhares para uma de suas peças mais conhecidas.” (Revista Concerto, October 2020)

Mozart Piano Concertos Nos. 23 & 24 (arr Ignaz Lachner)

"Mozart: Piano Concertos Nos. 23 and 24 (Naxos) Lachners geniales Arrangement gibt Mozarts Klavierkonzert eine Klarheit und Direktheit, die begeistert – zumal dann, wenn erstklassige Kammermusiker die Partner des Pianisten sind. Das elegante Klavierspiel Alon Goldsteins wird durch das sensibel musizierende Fine Arts Quartet, zum Quintett komplettiert durch den Kontrabassisten Alexander Bickard, bestens ergänzt. Mozarts Musik erklingt hier in einer Klarheit und Transparenz, die begeistert. Großartig!" (Ouverture, Das Klassik-Blog, 21 Oktober 2019)

http://ich-habe-gehoert.blogspot.com/2019/10/mozart-piano-concertos-nos-23-and-24.html

Lachner’s ingenious arrangement gives Mozart’s Piano Concerto a clarity and directness that inspires—especially when first-class chamber musicians are the partners of the pianist. Alon Goldstein’s elegant piano playing is well complemented by the sensitive music-making Fine Arts Quartet, the quintet completed by double bass player Alexander Bickard. Mozart’s music is presented here with a clarity and transparency that inspires. Great! (Ouverture, Das Klassik-Blog, 21 Oktober 2019)

"Spirited playing and a perfectly mixed, subtly nuanced and transparent sound make these recordings a pure listening pleasure." (Pizzicato, October 2018)

It is no small factor that the performances are wonderful. The current iteration of the venerable Chicago-based Fine Arts Quartet sounds as polished and committed as ever, and Alon Goldstein is an elegant and thoughtful Mozartian. (Peter Burwasser, Fanfare, March 2019)

"Tempos throughout are well chosen, the finales imbued with a sense of happiness, and rarely can that beautiful melody in the second movement of the Twenty-fourth have been shaped with such affection. Among their large number of recordings, this is one of the Fine Arts' most successful." (David Denton, David's Review Corner, September 2018)

"One experiences the music here as chamber music, and very finely played chamber music!...These are all wonderful performers who play this music with warmth, expressivity, and a complete understanding of Mozartian style." (Donald Isler, Isler's Insights, November 5, 2018)

"* Goldstein y el Fine Arts ofrecen una amplia gama de matices en una interpretación puramente camerística de extraordinaria fusión. Goldstein es un pianista de articulación clara que defiende las obras con sensibilidad y sin perder su condición de solista sabe situarse en un plano equilibrado, mientras que el Fine Arts, con sonido homogéneo y sedoso y ataques precisos, contribuye a mantener el carácter conversacional con el solista, logrando momentos de gran belleza e intensidad. Como muestra, escúchese la impresionante serenidad con que se expresan en el Adagio del KV 488 o la vehemente evolución del Allegretto final del KV 491. Un disco que no decepcionará." (José Luis Arévalo, Ritmo, February 2019)

"Goldstein and Fine Arts offer a wide range of nuances in a purely chamber music interpretation of extraordinary fusion. Goldstein is a clear articulation pianist who defends the works with sensitivity and without losing his solo condition knows how to place himself in a balanced plane, while Fine Arts, with homogeneous and silky sound and precise attacks, contributes to maintaining the conversational character with the soloist, achieving moments of great beauty and intensity. As shown, listen to the impressive serenity with which they express themselves in the Adagio of KV 488 or the vehement evolution of the final Allegretto of KV 491. A record that will not disappoint." (José Luis Arévalo, Ritmo, February 2019)

Bernard Herrmann: Souvenirs de voyage/David Del Tredici: Magyar Madness

"In these performances, recorded live in France in 2013 and 2015, the Fine Arts Quartet responds to every mood and rises to all demands...The recording gives the instruments a close balance...but the sound is always warm and clear." (Phillip Scott, Fanfare, May 2017)

"This piece is one of my favorites of his [Herrmann's] concert works. There have been several recordings of it over the years, some really good (such as the one on Delos), but this newest one on Naxos hits a new high as far as infusing unrestrained emotion into the performance. Honestly, no other performance I've heard matches the intensity of this one. The Fine Arts Quartet bring out nuances I didn't even contemplate when listening to earlier recordings. Thank you. So well done." (James Doherty, Amazon.com, April 26, 2017)"

"Theatrically exciting playing by the Fine Arts...a valuable disc capturing excellent live performances of these two very individual works." (Nick Barnard, MusicWeb International, April 2017)

"The playing throughout is most pleasing. The recorded sound is exemplary." (David Denton, David's Review Corner, November 2016)

"Uno de los más sabrosos frutos de esas vivencias es esta preciosísima obrita llamada Souvenirs de voyage (1967), música de corte tardo-romántico e impresionista. Magnífica versión registrada en el Festival de Prades en 2013 junto a la pieza de Del Tredici, de 2006, que guarda más de una afinidad estilística con la de Herrmann...La interpretación vuelve a ser excelente." "One of the most delicious fruits of Herrmann's experiences is this precious little work called Souvenirs de voyage (1967), late-romantic and impressionist music. Magnificent version recorded at the Prades Festival in 2013 together with the piece by Del Tredici, from 2006, which has more than one stylistic affinity with that of Herrmann...The interpretation is once again excellent. (Pedro González Mira, Ritmo, February 2017)