Ensemble | North American Representation
Acclaim

"The Quatuor Mosaïques offers the best experience that one could hope to have at a string quartet concert. Its members have played together for more than 25 years, so they understand the medium deeply. Their programming provided a satisfying overview of one of the more expressive periods in history of quartets, and their masterful technique on period strings allowed tiny details to bubble up to the surface that might be lost in other groups' performances. This ensemble delivered, with obvious élan, exactly what its name promised."

San Francisco Classical Voice

"...the group does tap into something well beyond mere notes and rests. No doubt this is what people mean when they talk about music casting a spell."

The Philadelphia Inquirer

“Quatuor forced us out of our expectations by performing the most treasured gems of our classical repertoire in their natural light, unvarnished, uncontaminated, towering with restraint and wisdom, to unforgettable effect.”

Boston Musical Intelligencer

"The group...has ranked among the world's foremost string quartets since shortly after its founding in 1985, balancing period instruments and historically informed performance practice with contemporary interpretive impulses like no other...The group's ingratiating sound and impeccable interpretive unity gave the sense of a unit that lives and breathes together constantly."

The New York Times

"The vividness of the Mosaïques’ playing made each composer seem young. But more: Its Mozart sounded utterly beguiling in naturalness, neither falsely delicate nor forcedly robust. Schubert’s difficult single movement set the tone for the entire evening, with the first violin Eric Höbarth’s white-gold sound a thing of beauty in itself.”

Chicago Tribune
"The Mosaïques' readings of the slow movements in the so-called Joke and Bird Quartets are again outstanding in their grave tenderness, their sensitivity to harmonic flux and the improvisatory freedom Erich Höbarth brings to his ornamental figuration. The Bird, in particular, receives as searching a performance as I've ever heard: in the first movement the Mosaïques steal in almost imperceptibly, respond vividly to the music's richness and wit, and bring a spectral pianissimo to the mysterious lull in the development. The Slavonic finale, one of several movements to benefit from the lighter, more flexible period bows, goes with terrific fire and panache."
Gramophone Magazine
"For sheer poise, the first quartet of Haydn's Opus 54 couldn't have been bettered. A slow movement that was mindful of the composer's Allegretto direction was particularly appreciated; its two pivotal climaxes, the second of which slipped into some minor intonation problems, were gripping."
The New Zealand Herald

“The Quatuor began to interact with that ardent volatility, that almost improvisatory immediacy that always characterises the most vital string-quartet playing.”

The Independent

"[The Quartet] played with finesse, dramatic intent, grace, intelligence, and beautiful sonority."

Le Monde

“I can’t overstate the pleasure in hearing gestures so aptly and expressively shaped, tempos so poised, harmonic areas characterized with such telling shifts in timbre.”

Globe and Mail

“I can’t overstate the pleasure in hearing gestures so aptly and expressively shaped, tempos so poised, harmonic areas characterized with such telling shifts in timbre.”

The Times (London)
Total: 11 (Viewing: 1–11)