Critiques

The quartet […] are superb musicians who tread the line — as so many do — between the classical and the avant-garde, with, in this case, a strong leaning toward the latter. Once again, the textural elements of the instruments themselves were foregrounded.

Mike Chamberlain, All About Jazz, 31 mai 2021

Critique de l’événement FIMAV 2021: Quatuor Bozzini / Nicolas Caloia / Yves Charuest

Le tout fut une première de grande qualité qui se classa, pour ma part, comme le plus beau moment du festival.

Alex Pelchat, Mes enceintes font défaut, 24 mai 2021

Critique de l’événement FIMAV 2021: Quatuor Bozzini / Nicolas Caloia / Yves Charuest

… an exciting excursion into the unknown that ventured from restrained exchanges and collaboration to outright displays of musical passion.

Irwin Block, Avant Music News, 24 mai 2021

Critique de l’événement FIMAV 2021: Quatuor Bozzini / Nicolas Caloia / Yves Charuest

… the première of Jürg Frey’s Fourth String Quartet provided an oasis of focussed stillness.

Alex Ross, The New Yorker, 12 avril 2021

Critique de l’événement MaerzMusik 2021: Quatuor Bozzini — Jürg Frey

The festival’s epic speaking-clock finale had its own bleary pleasures. Titled timepiece, it built on Ablinger’s 2012 work tim Song. Lewis appeared as a reciter in the first hour; a few hours later, the Bozzini Quartet accompanied the speakers with Michael Oesterle’s Consolations, which is not unlike Frey’s quartet in mood. Long past midnight, the Irish composer-performer Jennifer Walshe took over the broadcast and wreaked havoc, as is her wont.

Alex Ross, The New Yorker, 12 avril 2021

Critique de l’événement MaerzMusik 2021: Quatuor Bozzini — Éliane Radigue Et MaerzMusik 2021: TIMEPIECE — A Live Speaking Clock

Accompagnés par des musiciens au sommet de leur art (Philippe Brault, Jérôme Minière et le Quatuor Bozzini)…

Christian Saint-Pierre, Le Devoir, 4 février 2020

Critique de l’événement Soifs matériaux

The Quatuor Bozzini belongs to that select group of fearless string quartets — ★★★★

Andrew Clements, The Guardian, 15 mars 2019

Critique de l’événement Barber Evening Concert

the recondite elegance of Cassandra Miller and Linda Catlin Smith, as played by the Bozzinis

Steve Smith, National Sawdust, 28 décembre 2018

Critique de l’événement Time Spans 2018: Concert I

It felt like staring directly into the sun, transcendent and mindblowing.

Simon Cummings, 5:4, 23 novembre 2018

Critique de l’événement hcmf// 2018: 21. Quatuor Bozzini

With over 200 commissions and 300 premieres, their commitment to new works was in full evidence in their ability to make Miller’s and Tenney’s pieces resonate richly on their own terms.

Richard Kurth, Vancouver Classical Music, 20 octobre 2018

Critique de l’événement Quartetti — A Festival of String Quartets: Concert

This Bozzini lead concert was of the highest order, each piece equally as tautly and aesthetically constructed as the other; instrumental materials similarly pitched, also as if a tightrope was being walked somehow.

Rose Dodd, Gonzo Circus, 8 octobre 2018

Critique de l’événement Gaudeamus Muziekweek 2018: Spatial Music — Bozzini Quartet

The Bozzini Quartet played this delicately intense music with subtle aggression…

Seth Colter Walls, The New York Times, 17 août 2018

Critique de l’événement Time Spans 2018: Concert I

… the quartet’s playing throughout had a warm, woody, grainy sound, with excellent intonation, even in extended passages in the violins’ highest range. Their concentration and focus were precise and solid yet with a soft touch, like raw linen stretched taut.

George Grella, New York Classical Review, 15 août 2018

Critique de l’événement Time Spans 2018: Concert I

The Bozzinis’ committed and razor-focused performances of works by Linda Catlin Smith and Cassandra Miller made them a tough act to follow.

Christian Carey, Christian B Carey, 14 août 2018

Critique de l’événement Time Spans 2018: Concert I

Beyond excellent mainstays like the JACK Quartet, the Talea Ensemble, and Quatuor Bozzini, this year’s festival embraces vital musicians whose work falls outside the classical-music lineage.

Steve Smith, The New Yorker, 10 août 2018

Critique de l’événement Time Spans 2018: Concert I

A special occasion, indeed: the music of Swiss composer Jürg Frey, performed by an ensemble that has shown an special knack for his fragile, melancholy idiom.

Steve Smith, National Sawdust, 28 décembre 2017

Critique de l’événement Time Spans 2017: Concert IV

Quatour Bozzini with Isaiah Ceccarelli (percussion) and Noam Bierstone (percussion), performing Jürg FreyString Quartet No. 3; Unhörbare Zeit

Yuko Zama, View from Elsewhere, 20 décembre 2017

Critique de l’événement Time Spans 2017: Concert IV

… a distinctive voice. Smith’s undoubtedly has that.

Andrew Clements, The Guardian, 21 novembre 2017

Critique de l’événement hcmf// 2017: 8. Linda Catlin Smith: Piano + Strings

I cannot imagine a listener being unmoved by this music, particularly when delivered by players capable of rendering its gestures with the unanimity of an accordion’s bellows and the naturalness of human breath.

Steve Smith, The Log Journal, 10 août 2017

Critique de l’événement Time Spans 2017: Concert IV

Toward the end, a brief viola solo attained a moody grandeur worthy of the late Romantics.

Seth Colter Walls, The New York Times, 7 août 2017

Critique de l’événement Time Spans 2017: Concert IV

Compelling music, compellingly played… a marvellous performance and clearly a definitive interpretation.

Mark Morris, Edmonton Classical Music, 25 mars 2017

Critique de l’événement Now Hear This Festival of New Music 2017: The Bozzini Quartet, Now Hear This Festival of New Music 2017: The Bozzini Quartet and Guests Et Now Hear This Festival of New Music 2017: The Bozzini Quartet and Gerry Morita

★★★★★ — It was quite simply a revelation, a cleansing of the ears, and played with matchless conviction and immaculate technique.

David Kettle, The Scotsman, 1 novembre 2016

Critique de l’événement Sound Festival 2016: Traces: a lecture-recital by the Bozzini Quartet Et Sound Festival 2016: Concert

The comtemplatieve stacking of musical layers, the extremely long lyrical lines, interrupted by great silences, the tones were sometimes detained for half a minute, all in concentration brought by the musicians: it was an inexpressible and indefinable experience.

Job Van Schaik, 31 octobre 2016

Critique de l’événement Sounds of Music 2016: Concert

★★★★★ — Bozzinis have a wonderful way with his exquisite monochromes

Kate Molleson, The Guardian, 30 octobre 2016

Critique de l’événement Sound Festival 2016: Concert

I believe that this is a great opportunity for any composer who wants to become the best chef in their musical kitchen.

Egidija Medekšaitė, The Sampler, 28 octobre 2016

Critique de l’événement Composer’s Kitchen 2015: Atelier, Composer’s Kitchen 2015: Composer’s Kitchen: Concert; LMCM présente Magnitude6, Composer’s Kitchen 2015: Atelier Et Composer’s Kitchen 2015: Concert

The sounds are remarkably solid and compacted in the string quartet Between Blue, partly because he regularly makes the entire quartet playing the same musical line, make it sound like one instrument.

Ben Taffijn, Nieuwe Noten, 9 septembre 2016

Critique de l’événement Composer’s Kitchen 2016; Gaudeamus Muziekweek 2016: Composer’s Kitchen (2)

The piece has an intoxicating character… Oesterle brings us in a sort of daze with its repetitive patterns, thanks to the tight interplay of this excellent quartet.

Ben Taffijn, Nieuwe Noten, 8 septembre 2016

Critique de l’événement Gaudeamus Muziekweek 2016: Late Night Gaudeamus Award 2016

Micro-variations au programme, différents réglages en cours de route… Paisible, méditatif, sensuel.

Alain Brunet, La Presse, 21 mai 2016

Critique de l’événement FIMAV 2016: Quatuor Bozzini / Kim Myhr

Plusieurs ont été soufflées par l’interprétation experte faite par Angell (Thus Owls) de la poésie de Caroline Bergvall.

Éloïse Lara Desrochers, CHYZ Radio, 20 mai 2016

Critique de l’événement FIMAV 2016: Quatuor Bozzini / Kim Myhr

Ces pièces, qui ne comportent pas plus de 100 notes chacune, sont plus que des balbutiements.

Marie-Pier Frappier, Le Devoir, 20 mai 2016

Critique de l’événement FIMAV 2016: Quatuor Bozzini / Kim Myhr

Another highlight is the Canadian Bozzini Quartet interpretations of four works for string quartet including the first one from 1933-34 where the radicality of the musical language acts as a rotary stage where tapestry — like patterns slowly get unveiled.

Magnus Haglund, Göteborgs-Posten, 9 février 2016

Critique de l’événement Ny Musik — Hiver 2016: Sfärernas musik – samtliga verk för stråkkvartett Et Johanna M Beyer: Local — Universal

Virtuosic control… the Bozzini Quartet

Kate Molleson, The Guardian, 23 novembre 2015

Critique de l’événement hcmf// 2015: 7. Quatuor Bozzini: Jürg Frey