World Premiere: Du Yun’s Tattooed in Snow

On February 8, 2015 the Shanghai Quartet will premiere Du Yun’s Tattooed in Snow, commissioned by Peak Performances, Montclair Sate University. This work explores the temporary, fragile crystallization of art in nature and in space, often formed by the repetition of a small idea processed over a long period of time. The players of the Shanghai become four pillars of a musical space; a chant begins to move among them, layers, repeats and takes shape in the manner of a sculpture in sand or snow.

This work is inspired by these delicate art forms as well as chant and poetry, building on Du Yun’s work with both visual and spoken-word artists. This piece will provide a different kind of platform for the Shanghai Quartet and their audience: an experience drawn from one of the richest resources of western music.

The Shanghai Quartet has a long history of championing new music with 27 commissions and world premieres over 30 years.

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New Pianist + Familiar Quartet = Satisfaction

The young Israeli-American pianist Benjamin Hochman has been stirring up quite a bit of interest recently. He gave his first performances in the mid-Hudson Valley area on two consecutive days: Saturday evening, June 28th, at Bard College, and Sunday afternoon at Maverick Concerts in Woodstock. With luck we’ll be hearing a good deal more of him.

For years I have been complaining about the tonal quality produced by prominent young pianists. For someone with the golden sound of Sviatoslav Richter and Arthur Rubinstein in his memory, the typical sound of successful young pianists isn’t satisfying; I describe it as bronze at best, clattery at worst. Radu Lupu, Ivan Moravec, Dubravka Tomsic make beautiful sounds but they are a minority contingent. Recently, some young pianists have brought gold back into my reviewing vocabulary, including Yuja Wang and Jeremy Denk. Hochman is another. At Bard, where he played the three Brahms Violin Sonatas with his wife, violinist Jennifer Koh, Hochman displayed quality and variety of tonal production which were deeply satisfying. (The duo also gave a particularly memorable performance of the Third Sonata.)

Read the full article at The Boston Musical Intelligencer »

Shanghai Quartet shines on

ROCKPORT — In some quarters, one can detect a quiet condescension toward the Polish composer Krzysztof Penderecki for having turned his back on his futuristic works of the 1950s and ’60s and embraced a more traditional aesthetic. But this superficial judgment crumbles on listening closely to some of Penderecki’s post-avant-garde works, especially the chamber music written since the 1990s.

Consider his Third String Quartet, “Leaves of an Unwritten Diary,” which the Shanghai Quartet commissioned, premiered in 2008, and played on Saturday in the first of two concerts at the Rockport Chamber Music Festival. Its sections are tonally centered and melodically rich. So, sure, call it conservative. But its textures — now caustic and astringent, now dense and motoric — are more internally varied than in most of Penderecki’s earlier works, and the economical use of thematic material is masterfully hidden beneath jagged surfaces. Innovation is not so simple a matter.

Read the full article at The Boston Globe »