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.
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
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
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
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.
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
Thomas Schacher, Neue Zürcher Zeitung, 13.05.2018