Quatuor Ébène plays Haydn, Schubert and Bartók

Quatuor Ébène (photo: Julian Mignot)

A string quartet – according to the members of Quatuor Ébène – can be compared to a marriage: you need a lot of patience when dealing with each other. Added to this are passion, technical brilliance and expressiveness, which make the ensemble one of the leading string quartets of our time. In this programme, Quatuor Ébène takes a tour through the history of the genre: from Joseph Haydn’s experimental, sometimes abrasive Quartet op. 20 No. 3 to Franz Schubert's symphonic-like Last Quartet and the original Third String Quartet, in which Béla Bartók combines reminiscences of Hungarian folk music with a highly expressive tonal language.

Quatuor Ébène

Pierre Colombet violin

Gabriel Le Magadure violin

Marie Chilemme viola

Yuya Okamoto cello (replacing Raphaël Merlin)

Joseph Haydn

String Quartet in G minor, Hob. III:33

Béla Bartók

String Quartet No. 3, Sz 85

Franz Schubert

String Quartet No. 15 in G major, D 887

Dates and Tickets

Biographies

Quatuor Ébène

The French Quatuor Ébène has been cultivating a new, boundary-breaking approach to the string quartet repertoire for more than 20 years. This is evident in their often-unusual programming, which not only encompasses the classical repertoire, but also makes excursions into the genres of jazz and pop. But Quatuor Ébène has also set new standards in their musical understanding of the works that they perform. The unmistakable expressiveness of the Quatuor Ébène could already be felt when the formation, then still young, competed in the ARD International Music Competition in 2004 - and won. The members of the quartet had met five years earlier during their studies at the Boulogne-Billancourt Conservatory. The ensemble, which studied with Quatuor Ysaÿe as well as with Gábor Takács, Eberhard Feltz and György Kurtág, is now considered one of the best string quartets in the world. Its recording of the complete string quartets of Ludwig van Beethoven in particular caused a sensation, as did its commitment to young musicians in the newly-founded Ébène Quartet Academy at the Hochschule für Musik und Theater in Munich. The quartet impresses with its playing, which has been described as homogeneous and at the same time multi-layered, profound and yet light, powerful and at the same time intimate. And this despite the fact that the members - as they repeatedly emphasize - often have very different opinions. In one respect, however, there is unanimity: "Creativity only arises from differences."