Recorded by the Piatti Quartet
CD released 1 November 2024
“the Cantelina …felt like nothing so much as a late Beethoven slow movement in 21st century guise…” (Phil Parker, Bachtrack, 7 November 2025)
“….diese CD einen so tief in ihren Bann zieht, dass es kein Zufall sein kann – etwa, weil Phibbs eben ein besonderes Faible für Streicher besitzt oder weil das Piatti Quartet einfach fantastisch spielt. Da ist noch etwas anderes: Diese Quartette bringen es fertig, an keine anderen bereits existierenden zu erinnern, obwohl doch genügend Tonsetzer sich an dieser anspruchsvollen Gattung abgearbeitet haben” (…this CD is so captivating that it can’t be a coincidence—perhaps because Phibbs has a particular penchant for strings, or because the Piatti Quartet plays simply fantastically. There’s something else: These quartets manage to be reminiscent of no other existing ones, even though plenty of composers have already mastered this demanding genre. Phibbs even manages to do without overly extravagant playing techniques or electronic additions.” (Mátyás Kiss, Neue Musikzeitung, October 2025)
“The players have a natural empathy with Phibbs’ writing….recorded clearly and with refinement on this highly recommendable disc.” ***** (Paul Conway, Musical Opinion Quarterly, April-June 2025)
“I have several favorite string quartets whose recordings I extol all the time, but the Piatti Quartet is surely one of the very best – ever. Their playing of these string quartets is beyond awesome; it is simply out of this world”. (David Rowe, Classical Review, January 2025)
“Already creatively surefooted – and steeped in strings since a young cellist – Phibbs has only grown in stature over the past decade. And the same is true of the prize-winning Piatti, for whom Phibbs has become their most-performed contemporary composer. The rich, mutual understanding they share readily communicates to the listener.” ***** (Steph Power, BBC Music Magazine, January 2025)
“The recording as a whole gives not only the state of the string quartet in the 21st century but also an eye on Joseph Phibbs’ development of the string quartet as a personal statement. He has the freedom to expand from the traditional four-movement format and to move from traditional tempo-based movements to character pieces, freeing both the music and the players.” (Maureen Buja, Interlude, January 2025)
“I really enjoyed these quartets and look forward to hearing more of Phibbs’s music: it is the kind of unshowy, well-composed and memorable writing which doesn’t grab attention but rewards it. The Piatti Quartet repay the composer’s confidence in them with strong and committed performances, and the recording is excellent. Those who care for string quartets should explore these works.” (Stephen Barber, Music Web International, December 2024)
“Excellent music, superbly played and produced” (Guy Rickards, Gramophone, November 2024)
“Listening carefully to these performances, registering time and again, one realises not only just how powerful the music is, but also the superb nature of the performances. All four instrumentalists: Michael Trainor, Emily Holland, violins, Miguel Sabrinho, viola, Jessie Ann Richardson, cello – is expert in their own right, but they combine to make a whole greater than the sum of their four parts” (Colin Clarke, Classical Explorer, 8 Nov 2024)
“Is it Recommended? Very much so….” (Richard Whitehouse, Arcana, 28 Nov 2024)
“Life-affirming” ***** (Pál Körtefa, Pizzicato, 5 Nov 2024)
“The four members of the Piatti Quartet, who have worked with Phibbs over many years, are kindred spirits, and their playing reflects this. The composer seems, in these works, to be on a quest for a sancta sanctorum. Agreeably closely recorded, the music is never overly complex, nor is it discordantly avant-garde. If you like the music of Valentin Silvestrov, Arvo Pärt or Marjan Mozetich, be reassured: you are on a related pilgrimage with these works.” (Rob Barnett, Music Web International, October 2024)