» Kitgut Quartet
String Quartet
Biography
No « oracle » could have predicted the reunion of these four musicians, whose profiles are so versatile and contrasted. And yet in 2015, after a first encounter, Amandine Beyer, Naaman Sluchin, Josèphe Cottet and Frédéric Baldassare created the Kitgut Quartet, on periodic instruments and gut strings.
From their respective experiences as chamber musicians and soloists in large European ensembles, they share the desire of bringing the greatest pieces of the repertoire to life with their bows, as well as the « curiosities » and forgotten pieces, in a tradition of freedom, enthusiasm and sharing.
The programs of the Kitgut Quartet question the origins of string quartets, and explore the various attempts to write properly instrumental pieces for four voices, in Europe, before the classical period. In different chapters, around Schubert and Germany, Mozart and Italy, Beethoven and France and Haydn and England, the Kitgut present another outlook of the birth of the quartet, with the desire to present on stage what punctuates their rehearsals: dialog, fun and spontaneity.
Since its creation, the quartet has been performing in different European venues and festivals, such as the Théâtre de la Ville/Théâtre des Abbesses in Paris, AMUZ in Antwerp, Royaumont Abbey… They will also perform at the Amsterdam String Quartet Biennale in 2022.
In 2020, the first album of the Kitgut Quartet is released by Harmonia Mundi. « ‘Tis too late to be wise » is dedicated to Haydn and England (Purcell, Locke). The interpretation is hailed by the critics in France and internationnally. The album is awarded a « Diapason Découverte ».
Kitgut Quartet
Amandine Beyer – violin
Naaman Sluchin – violin
Josèphe Cottet – viola
Frédéric Baldassare – cello
Of more immediate interest is how the programme actually sounds, and the good news is that the playing of the newly formed Kitgut Quartet, using period instruments and led by Amandine Beyer, is full of freshness and life. Using violins for viol music may take away a little delicacy but it adds definition and an agile quickness of attack that these players make telling use of; Locke’s angular dances in particular acquire real athletic spring. Meanwhile the real violin-family music also benefits: Locke’s Curtain Tune from The Tempest brews up threateningly, Purcell’s Hornpipe and Timon of Athens Curtain Tune are full of flicks and kicks, and there is a swift but involvingly passionate performance of the famous and beautiful Chacony.
Lindsay Kemp / Gramophone
Upcoming concerts
Coming soon...