The Calidore String Quartet is distinguished by beauty of sound, clarity, and richness—a distinctive collective voice shaped by expressive depth and character. As The Washington Post noted, “four more individual musicians are unimaginable, yet these speak, breathe, think and feel as one.” With its original four members together since the quartet’s 2010 founding, Calidore has developed a depth of musical understanding and continuity that informs its sound and its interpretations prompting Le Devoir to describe them as “one of the finest quartets on the planet.” The Calidore is committed to presenting authoritative readings of the great masterworks and expanding the string quartet repertoire. Through commissions and collaborations with leading composers, the Calidore connect the enduring power of the repertoire with the creative possibilities of the present.
TURNAGE: Arietta - Variations on an Arietta by Beethoven
SHAW: Blueprint for String Quartet
SHAW: And So for String Quartet
ADAMS: String Quartet No. 3, "Alma"
TURNAGE: Arietta – Variations on an Arietta by Beethoven
SHAW: Blueprint for String Quartet
SHAW: And So for Soprano and String Quartet
Susanna Phillips, soprano
ADAMS: String Quartet No. 3, "Alma"
MONTGOMERY: Strum for String Quartet
HAYDN: String Quartet in D Major, Op. 71, No. 2
BARBER: String Quartet in B Minor, Op. 11
BEETHOVEN: String Quartet No. 16 in F Major, Op. 135
American Tapestry on Signum Classics features music by composers Samuel Barber, Erich Wolfgang Korngold, Wynton Marsalis and the world premiere recording of John Williams’ With Malice Toward None from “Lincoln” as arranged by the composer for the Calidore. The program of American music tells a story of “human interconnectedness that resonates beyond any national borders.”
SEE album details
‘Rasumovsky’ no.2 went to the Calidore Quartet in Crail, and it uncorked all of the work’s dark, febrile energy, revealing this as a high-pressure drama that carries very little relaxation or release. The Calidore then plunged even further into the dark the following day when it played Schubert’s ‘Death and the Maiden’ Quartet as if it were a high-octane psychodrama; everything treated with vice-like focus, driven by a terrible energy that ran through every phrase, even the slow, warm beauty of the variations…