Press

Perfect timing, hairpin dynamics and pools of pianissimo delicacy

What they never offe­red, thank­ful­ly for Beethoven, was a var­nis­hed, over­ma­ni­cu­red sound. There was always a sen­se of wild ima­gi­na­ti­on and music-making on the run, some­thing that even spi­ral­led out of their encore, the scam­pe­ring fina­le of Op 18 No 3, gene­ral­ly one of Beethoven’s cal­mer crea­ti­ons. Impetuosity and élan are the Kuss Quartet’s watch­words. And even crut­ches don’t stop them.
Geoff Brown, The Times, 05.02.2020

A new view and a strong closure”

“Primaria Jana Kuss with Oliver Wille, vio­list William Coleman and cel­list Mikayel Hakhnazaryan swit­ched bet­ween three move­ments of Haydn’s” Seven Last Words” con­tem­pora­ry pie­ces by Thomas Adés and Harrison Birtwistle. This ope­ned up an asto­nis­hin­gly new view of the sup­po­sed­ly harm­less Haydn wit­hout inter­rup­ti­on: he also crea­tes some extre­me con­trasts. (…)
From an exis­ten­ti­al force and bey­ond all celes­ti­al lengths was the inter­pre­ta­ti­on of a stan­dard work of the quar­tet reper­toire, with a very well matching sub­ject, Schubert’s Quartet “The Death and the Maiden” — a power­ful con­clu­si­on of a power­ful fes­ti­val.
Guido Holze, FAZ, 02.12.2016

From today’s view”

“The Kuss Quartet has exis­ted sin­ce 2002 and has beco­me sin­ce long time one of the most inte­res­ting quar­tets on the inter­na­tio­nal podi­um.  (…) But despi­te the released ener­gy, the beau­ty of the sound is always pre­ser­ved and the­re is a sen­si­bi­li­ty that avo­ids ever­ything that is exa­g­ge­ra­ted.  The musi­ci­ans mas­ter the furious fugue of the final move­ment with vir­tuo­si­ty … ”
Thomas Schacher, Neue Zürcher Zeitung, 13.05.2018

Finest hours of quartet playing”

Those who came, expe­ri­en­ced two bril­li­ant hours of the quar­tet play­ing, Haydn, Janacek and Schubert, bey­ond sen­sa­tio­na­lism, but with a sover­eig­n­ty which is based ent­i­re­ly on the deep infil­tra­ti­on into the cha­rac­ter of each work.
The inter­pre­ta­ti­ons of Schubert’s late G major quar­tet and Janacek’s 1st String Quartet were kind of an epi­pha­ny, even to tho­se who know the pie­ces well.
Martin Wilkening, Frankfurter Rundschau, 08.05.2013

Press

Finest hours of quartet playing”

Those who came, expe­ri­en­ced two bril­li­ant hours of the quar­tet play­ing, Haydn, Janacek and Schubert, bey­ond sen­sa­tio­na­lism, but with a sover­eig­n­ty which is based ent­i­re­ly on the deep infil­tra­ti­on into the cha­rac­ter of each work.
The inter­pre­ta­ti­ons of Schubert’s late G major quar­tet and Janacek’s 1st String Quartet were kind of an epi­pha­ny, even to tho­se who know the pie­ces well.
Martin Wilkening, Frankfurter Rundschau, 08.05.2013

A new view and a strong closure”

“Primaria Jana Kuss with Oliver Wille, vio­list William Coleman and cel­list Mikayel Hakhnazaryan swit­ched bet­ween three move­ments of Haydn’s” Seven Last Words” con­tem­pora­ry pie­ces by Thomas Adés and Harrison Birtwistle. This ope­ned up an asto­nis­hin­gly new view of the sup­po­sed­ly harm­less Haydn wit­hout inter­rup­ti­on: he also crea­tes some extre­me con­trasts. (…)
From an exis­ten­ti­al force and bey­ond all celes­ti­al lengths was the inter­pre­ta­ti­on of a stan­dard work of the quar­tet reper­toire, with a very well matching sub­ject, Schubert’s Quartet “The Death and the Maiden” — a power­ful con­clu­si­on of a power­ful fes­ti­val.
Guido Holze, FAZ, 02.12.2016

From today’s view”

“The Kuss Quartet has exis­ted sin­ce 2002 and has beco­me sin­ce long time one of the most inte­res­ting quar­tets on the inter­na­tio­nal podi­um.  (…) But despi­te the released ener­gy, the beau­ty of the sound is always pre­ser­ved and the­re is a sen­si­bi­li­ty that avo­ids ever­ything that is exa­g­ge­ra­ted.  The musi­ci­ans mas­ter the furious fugue of the final move­ment with vir­tuo­si­ty … ”
Thomas Schacher, Neue Zürcher Zeitung, 13.05.2018
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