Doric String Quartet



Alex Redington violin
Jonathan Stone violin
Hélène Clément viola
John Myerscough cello

“This is a superb ensemble, intelligent, technically brilliant, wonderfully balanced.”
The Times, 24 July 2016

The Doric String Quartet has firmly established itself as the leading British string quartet of its generation, receiving enthusiastic responses from audiences and critics across the globe. Selected for representation by YCAT in 2006, the Quartet went on to win several prizes including 1st prize at the 2008 Osaka International Chamber Music Competition in Japan, 2nd prize at the Premio Paolo Borciani International String Quartet Competition in Italy and the Ensemble Prize at the Festspiele Mecklenburg-Vorpommern in Germany.

The Quartet performs in leading concert halls throughout Europe including Amsterdam Concertgebouw, Vienna Konzerthaus, Berlin Konzerthaus, Frankfurt Alte Oper, Hamburg Laeiszhalle and De Singel, and is a regular visitor to the Wigmore Hall. In 2010 the Quartet made its highly acclaimed American debut with recitals at the Frick Museum in New York and Library of Congress in Washington and now tours annually, making its Carnegie Hall debut in 2017. Alongside main season concerts the Quartet has a busy festival schedule and has performed at the Festspiele Mecklenburg- Vorpommern, West Cork, Cheltenham, Delft, Grafenegg, Schubertiade Hohenems, Carinthischer Sommer, Incontri inTerra di Siena, Risør and Schwetzinger Festivals, collaborating with artists including Ian Bostridge, Philip Langridge, Mark Padmore, Alexander Melnikov, Daniel Müller-Schott, Andreas Haefliger, Chen Halevi, Elizabeth Leonskaja, Alina Ibragimova and Cédric Tiberghien.
A recent highlight has seen the Quartet take on John Adams’ “Absolute Jest” for String Quartet and Orchestra with performances at the Vienna Konzerthaus with John Adams conducting, with the Netherlands Radio Philharmonic at the Concertgebouw and with the BBC Scottish Symphony Orchestra conducted by Markus Stenz. Their recording of the piece with the Royal Scottish National Orchestra and Peter Oundjian will be released on Chandos in 2018.
The 2017/18 season sees the Doric String Quartet featured at the Wigmore Hall as part of the Hall’s Haydn Series. Across five concerts throughout the season the Quartet performs the complete Opus 20 and Opus 64 Quartets and the Seven Last Words. Elsewhere in the UK they continue their longstanding relationship with the Wiltshire Music Centre and in June 2018 they will take up the Artistic Directorship of the Mendelssohn on Mull Festival. In Europe highlights include appearances in Avignon, Alès, Zurich, Cologne, Eindhoven and Rotterdam. The Quartet also takes part in the inaugural Amsterdam String Quartet Biennale as well as taking part in Malmö Chamber Music Festival and returns to Mecklenburg Vorpommern for the Spring Festival in Rügen. Further afield the Quartet returns to the US for its annual tour which includes performances in Hawaii, Salt Lake City, Boston, Washington DC and New York.
In 2009 the Doric String Quartet’s first CD was released to critical acclaim on the Wigmore Live label and was chosen as Editor’s Choice in Gramophone. Since 2010 the Quartet has recorded exclusively for Chandos Records. The first CD, the complete Korngold String Quartets, was featured as one of the 2010 Critic’s Choice discs in Gramophone and was followed by a CD of the Walton String Quartets which was nominated for a 2011 Gramophone Award. The Quartet’s release of the Schumann String Quartets was named CD of the Month in both Gramophone and BBC Music Magazine, whilst their recording of Haydn’s Op 20 was named Editor’s Choice by Gramophone and shortlisted for a 2015 Gramophone Award. 2017 saw the release of Elgar’s Introduction and Allegro with the BBC Symphony Orchestra/Ed Gardner and a CD of Schubert’s Quartetsatz and G Major Quartet which was named Editor’s Choice by Gramophone and nominated for a 2017 Gramophone Award.
Formed in 1998 the Doric String Quartet studied on the Paris-based ProQuartet Professional Training Program and later at the Music Academy in Basel. In 2015 the Quartet was appointed as Teaching Quartet in Association at the Royal Academy of Music in London.


Monday, January 1, 2018

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Doric String Quartet at Wigmore Hall
Classical Source
Wed, 2017-11-08
This concert completed the Doric Quartet’s survey of Haydn’s Opus 20 at Wigmore Hall; and, as with the first three, sympathetic attention to every phrase was of the essence. The quiet opening thirty-six bars of No.4 were taken in a relaxed, highly expressive manner – almost as if it were a thoughtful introduction even though Haydn marks the score Allegro di molto. This carefully considered phrasing typifies the approach to these works and often revealed deep insight into the music. An interesting example of attention to detail occurred in the succeeding variation movement where the theme tended to relax on repeats. It is a feature of the Doric approach that a repeat (and all were made) is not necessarily the same as the first time through. Next a controversial approach to two movements of Hungarian nature: the Minuet marked Allegretto alla zingarese was taken at a racing Presto which tumbled wildly forward giving the cello-led Trio no chance of keeping up to speed – nothing Hungarian remained – and the fast and furious Finale was exciting enough if with no chance of hearing all the notes. Such eccentricity was a ‘Doric moment’ during a masterful evening of revealing interpretation. The intense and beautiful performances of the remaining two works were very satisfying. In the extensive opening movements every turn of phrase was infused with meaning, making these relatively early Quartets seem as mature as any of the composer’s later such works. In the Adagio movements the Doric members again achieved their quiet magic Nor was there any problem with the Minuets – that of No.5 strode firmly and colourfully and in that of No.6 I can forgive the Trio ending so dreamily because this indulgence made the return to the Minuet seem so witty. This was a period when Haydn often closed Quartets with a fugal movement. That of No.5 is serious; that of No.6 more joyful. Both begin sotto voce and here the Doric’s approach was wonderfully effective – hushed, tense, very fast and with every intricate detail clearly evident; such quiet moments revealed Haydn’s innermost thoughts with utmost sensitivity, also evident in the gentle interpretation of the slow movement of Opus 64/3 given as an encore. Reviewed by Antony Hodgson
Thu, 2017-09-21
"I have never heard such a wonderful romantic version of Beethoven's String Quartet Opus 135 as the British Doric Quartet played. A veiled and distant sound were combined in a fascinating way with subtle but effektive nuances. It could have seemed artificial if the interpretaion had not been so deeply convincing. In the last movement Beethoven asks a question full of anguish. Here Doric let the romantic veil fall and let the question stand naked. And when followed with Schubert's last quartet the veil lay in rags around their feet - but could for short moments suddenly appear whole again. Schubert's contrasts between hard reality and dream were expressed with the greatest clarity and at the same time so well balanced that not even strong effects seemed exaggerated. In the harrowing second movement Schubert stepped forward pointing towards Stravinsky." Tobias Lund
Press Service