Navarra String Quartet
"the excellent Navarra String Quartet"
"...They have a warmly-rounded and very expressive sound, perfectly suited to Haydn: on this showing, they are already in the first rank of his music’s exponents..."
"the Navarra Quartet who deliver compelling performances."
BBC Music Magazine
Since its formation in 2002, the Navarra Quartet has built an international reputation as one of the most dynamic and poetic string quartets of today. Selected for representation by the Young Classical Artists Trust (YCAT) from 2006 to 2010, they have been awarded the MIDEM Classique Young Artist Award, a Borletti-Buitoni Trust Fellowship, a Musica Viva tour, and prizes at the Banff, Melbourne and Florence International String Quartet Competitions.
The Navarra Quartet has appeared at major venues throughout the world including the Wigmore Hall, Manchester’s Bridgewater Hall, the Sage Gateshead, Kings Place, Amsterdam Concertgebouw, Esterházy Palace, Luxembourg Philharmonie, Berlin Konzerthaus, the Laeiszhalle in Hamburg and international festivals such as Bath, Aldeburgh, Lammermuir, Presteigne, Bergen, Grachten, Sandviken, Schwetzinger, Rheingau, Mecklenburg-Vorpommern, Aix-en-Provence, Bellerive, Harrogate Chamber Music and the BBC Proms.
Further afield they have given concerts in Russia, the USA, China, Korea, Australia and the Middle East, and have been broadcast on BBC Radio 3, RAI 3 (Italy), Radio 4 (Holland), SWR (Germany), Radio Luxembourg and ABC Classic FM (Australia). The Quartet has collaborated with artists such as Li-Wei, Guy Johnston, Mark Padmore, Allan Clayton, Francesco Piemontesi, John O’Conor, Simone Young and the National Youth Orchestra of Great Britain.
Highly-acclaimed recordings include Haydn’s The Seven Last Words for Altara Records and a disc of Pēteris Vasks’ first three String Quartets for Challenge Records, which they recorded whilst working closely with the composer himself. The recording was described by critics as “stunning”, “sensational” and “compelling”, and was nominated for the prestigious German Schallplattenkritik Award. More recently, the Navarra Quartet recorded a disc for NMC Records featuring the music of Joseph Phibbs, and future recording plans include Schubert’s Late Quartets and the complete Britten quartets.
In April 2018, they will direct the fifth edition of the Weesp Chamber Music Festival, close to Amsterdam.
The Quartet plays on a Hieronymus II Amati violin, a Jean-Baptistery Vuillaume violin (kindly loaned to Marije by a generous sponsor through the Beares International Violin Society), an unknown, old English viola, and a Grancino cello made in Milan in 1698, generously on loan from the Cruft - Grancino Trust which is administered by the Royal Society of Musicians.
This biography is for information only and should not be reproduced.
Nottingham: Lakeside Arts Centre concert
Lakeside Arts Centre, 30th November 2017
A precise, stylish, supremely well-balanced ensemble ... elegant, tuneful, beautifully controlled ... In [Schubert’s String Quartet in G, D887], a work which demands high technical polish – as well as the sense that a musical revolution is taking place - the Navarra Quartet found the perfect balance between emotional depth and the thrill of innovation.
William Ruff, Nottingham Post
Stoller Hall Opening Weekend
Manchester, April 2017
The Navarra – a Manchester-formed quartet – played their Beethoven first movement in graceful and genial style, with flashes of fire and fury showing through; their Adagio sensitive and with an appealing cello voice; and their finale working up to a fine peak of emotion just the right side of hysteria. In Shostakovich the slow movement held us in its spell, with technically superlative long, vibrato-less, sustained notes, and the finale was passionate and completely engaging in its self-revelation.
Robert Beale, theartsdesk.com
It’s hard to believe any of the participants can match the fervour of the Navarra, who brought this austere, restless, complex work to life, especially good in the fleeting moments of lyrical transcendence.
Neil Sowerby, Confidentials Manhchester
Fata Morgana; Song by Pavel Haas CD Review
Resonus RES 10183
Fata Morgana refers to the Tagore song cycle completed by Haas following studies with Janáček (1923) – and which receives an impassioned premiere recording by Nicky Spence and the Navarra Quartet alongside Valešová...from joy to despair, every emotion is here in subtle colours; a legacy of great human and musical worth.
Steph Power, BBC Music Magazine *****
Valešová and the Navarra Quartet bring out the myriad colours of the score to perfection. This is Fata Morgana’s first commercial recording, and it is a major event, for this is a work that transcends the limits of the song-cycle genre and deserves the widest possible circulation.
The Navarra Quartet really makes the most of its numerous opportunities for sensuality.
Jonathan Woolf, Musicweb International
Utzon Music Series
Sydney Opera House, March 2016
It is hard to imagine this work [Vasks' String Quartet No.3] being played better [...] The Navarras gave us a gorgeous performance with astute attention to every detail.
Steve Moffatt, Limelight Magazine
Chichester University Haydn Lecture Recital with Terry Barfoot
The Navarra’s performance [of Haydn's 'Sunrise' Quartet] was wonderfully lyrical and full of light and shade. The second movement, a grave Adagio, began with a hushed, intense opening and as the movement developed, the interplay of the instruments, with the highly expressive first violin and cello, was superb. The minuet with its bucolic trio provided a perfect contrast, the players animated and rhythmical. The concluding Allegro ma non troppo was a treat, building superbly to the exultant final coda. [...] The Navarra are at the top of their game. Their integrated playing and fine ensemble are quite brilliant.
Chris Hough, Chichester Observer
Presteigne Festival 2015
St Andrew's Church, Presteigne; August 2015
The extraordinary realisation of this exquisite and enchanting composition, was roundly appreciated – but surely no surprise, as the pedigree of the artists, Navarra Quartet is undeniable.
Andrew Doyle, Hereford Times
The Navarra Quartet were joined by pianist Tom Poster for Dvorák’s Piano Quintet. All five performers were positively on fire for this imperishable romantic chamber work, playing with a passionate sweep that carried the audience along with them. A great evening.
Peter Reynolds, Hereford Times
But the most memorable of the new things I experienced was a string quartet (his second) by Joseph Phibbs, which was the centrepiece of an outstanding recital by the Navarra Quartet – an ensemble who play with the best kind of nervous energy and freewheeling excitement. Phibbs’ quartet required nothing less: it was exhilarating, vibrant, curiously but effectively constructed, and an unequivocal success on terms that brand new chamber music rarely manages.
Michael White, Catholic Herald
Mendelssohn ‘Complete Works for String Quartet’ - String Quartet No. 3, Op.44 No.1
Champs Hill Records CHRCD085
the immaculately executed white-knuckle ride set up by the Navarras.
... a true delight to me to find ten groups of young string players who take the composer's notes seriously...
BBC Music Magazine*****
The Navarra Quartet, almost matching the wistful sweetness of the Artemis Quartet in Mendelssohn’s D major Quartet Op.44 No. 1
BBC Radio 3 CD Review, Andrew McGregor
St George’s Bristol, Beethoven and Borodin Recital
Right from the opening bars, the Navarra Quartet revealed their special quality: a sweet well-knit sound and impeccable intonation.
Helen Reid, The Bristol Post
Banff International String Quartet Competition, Third Prize
And we cannot forget the Navarra Quartet, who gave us so many memorable performances this past week, including a moving and brilliant reading of Vivian Fung’s Quartet No. 3, and a masterly accounting of Britten’s Third String Quartet that will stay with me forever. Their interpretation of the Beethoven Razumovsky E minor quartet was replete with nuanced dynamics and articulation, ultimately scaffolding a sense of phrasing that was constantly supple, and never overworked. Perhaps what I appreciated most about Navarra’s playing, both yesterday and throughout the competition, was that they led me to always wonder what would happen next. Even though one may already know the notes full well of a given piece, I always came away with the sense that Navarra had something new to teach me every time I listened to them.
When the Navarra Quartet (UK/Ireland/the Netherlands) took their places as the fifth group and last to play before intermission, I was quite unprepared for how they would interpret Ms. Fung’s score. Over the years, denizens of this tri-ennial competition know that ten quartets will likely give ten vastly different offerings of the CBC/Banff Centre co-commissioned work, that it will be challenging but still idiomatically written for strings, difficult to execute, and filled with interpretively dangerous waters which these young artists must navigate. But I was not expecting the wonderful reading given by the Navarra Quartet.
In their accounting, I could also recall Ms. Fung’s eloquent anguish during her pre-concert talk over the Connecticut school shootings whose reports we horribly witnessed last year, in addition to the tremendous world conflict that she was documenting, relevant at this moment in Syria, all against a backdrop of her own personal revelations about her family’s history and its journeys of struggle. Indeed, this work could one day be nicknamed along the lines of String Quartet No. 3 - the “Dark Journeys” quartet. Navarra Quartet transfixed me with its beautiful conveyance of the composer’s interior world immediately from the start when they played the opening cluster chord. They understood the Middle Eastern prayer sections and the mixed narratives inspired by Schnittke’s chamber works (one of Ms. Fung’s favourite composers and one of mine too), which often contain scalding evocations of confronting mortality. These were juxtaposed frequently with slower sections that could be heard as chordal echoes of the transcendent mystical parallelism found in many of Messaien’s compositions, which required pellucid playing. Contrasting textured sections were frequently punctuated by furious bowing, glissandi, bowslap, rapid arpeggiation, and a whole host of requisite idiomatic features demanded of the performers.
the Navarra Quartet brought me to tears with Benjamin Britten’s String Quartet No. 3, from 1975. They captured his slow and at times angry dance with mortality with remarkably tightly contained power.
Schoenberg Concerto, National Youth Orchestra of Great Britain / Simone Young
Royal Festival Hall, 13 April 2013
the excellent Navarra String Quartet
Auditorium du Louvre - Mozart, Levinas and Debussy.
5 October 2012
the exquisite sonority of the instruments was remarkable[...] It was striking that this was a quartet of young players playing a young quartet [Mozart K.159], as their sound was one of very mature instrumental mastery. The players showed with precision and firmness the joyful mixture of intimacy and openness.
The musicians played seamlessly and meticulously, never hesitating before the composer’s [Debussy] extremely original chromaticism [...] The timbre and the colours were stunning
Vasks String Quartets Nos 1-3
Challenge Classics CC 72365
All three works, recorded in the presence of the composer, are projected with almost graphic immediacy by the Navarra Quartet who deliver compelling performances captured here in extremely vivid sound. Overall, then, this disc comes hotly recommended.
Erik Levi, BBC Music Magazine
They play this repertoire with the utmost conviction, and judging by the photo in the book, to the satisfaction of the composer.
Siebe Riedstra, Luister, November 2010
The playing is nothing short of sensational, the precision and enormous dynamics absolutely thrilling, as is the clarity of recording.
Yorkshirepost.co.uk, October 2010
We can be very brief about the Navarra Quartet: Amazing!
PS Mania Klassiek, October 2010
The stunning performance compensates a lot. The Navarra has specialized in a finely polished expression. Flawless intonations bring a sonority that causes a sensation in itself.
Thiemo Wind, De Telegraaf, October 2010
…this young UK-based ensemble understands his music down to the microsecond, and plays at a level that can be characterized as exceptional…
Volkskrant, September 2010