Quartetto di Cremona

Month

Biography

QUARTETTO DI CREMONA
Cristiano Gualco violin Paolo Andreoli violin
Simone Gramaglia viola Giovanni Scaglione cello

Internationally renowned for their "extremely mature and lyrical sound" (Strad), the Quartetto di Cremona now graces the stages of the most prestigious venues. Their focus and intensity brings life to music from the “tight blend and immaculate voicing” of their Brahms to the “sleek and elegant” dynamic countouring of their Mozart (Strad).
The Quartetto di Cremona formed in 2000 at the Stauffer Academy in Cremona and continued their studies with their mentors Piero Farulli and Hatto Beyerle . The international critics unanimously considers that they are the true heir of the famous Quartetto Italiano

The quartet has been awarded prestigious international awards and honors for artistic merit and recently the honorary citizenship in Cremona

Building on their early successes, the Quartetto di Cremona has played to critical acclaim at the most important venues and festivals in the world, including the Beethoven Fest Bonn, Konzerthaus Berlin, Wigmore Hall London, Boz Art, Auditorio Nacional Madrid, Metropolitan Museum New York, NCPA in Bejing and Teatro Coliseum Buenos Aires, Perth International Art Festival Australia, West Cork Ireland, , Mecklenburg Vorpommen Music Festival and Bad Kissingen .

In their homeland of Italy they have made their name performing at the Accademia di S. Cecilia in Rome and at the most renowned Italian music societies. The Quartet was nominated "Artist in Residence" at the Societa' del Quartetto of Milan, where they presented the Beethoven cycle in the season 2014-2015 and in 2016 they will play the Mozart’s Quartets cycle.

Recent and forthcoming tours include engagements in the USA, Japan, South America and China and in Europe the Quartetto di Cremona will tour the UK, Italy, Scandinavia, Germany and Austria.

Their extensive repertoire ranges from the early Haydn quartets to Wolfgang Rihm and Helmut Lachenmann, with particular interest in contemporary Italian music including the composers Fabio Vacchi, Silvia Colasanti, Michele Dall’Ongaro.
The quartet has toured with such personalities as Lawrence Dutton, Antonio Meneses and Angela Hewitt.

From July 2012 the Quartetto di Cremona is engaged in recording the complete Beethoven String Quartets for the German label Audite: The first volume received immediately important awards as 5 stars by the BBC Music Magazine and by the Strad and in June 2013 was named Disco Star of the Month by the prestigious German Magazine FonoForum. The following CD, achieved also great success: among the latest awards, we remind the Supersonic Award of German magazine Pizzicato and a nomination at the International Musical Award 2015 for the chamber music.
In 2011 they released by Decca the complete quartets of Fabio Vacchi and in 2012 they recorded an album dedicated to Italian composers titled "Italian Journey" (TYE label)
An important part of the Quartetto di Cremona’s activity is teaching master classes throughout Europe. Since Autumn 2011, the Quartet has taught at the Walter Stauffer Academy in Cremona.
The Quartetto di Cremona has been chosen as a testimonial of the International project "Friends of Stradivari".

"The Quartetto di Cremona is kindly supported by the Kulturfond Peter Eckes with four fabulous instruments":
Cristiano Gualco violin Giovanni Battista Guadagnini Cremonensis - Torino 1767
Paolo Andreoli violin Paolo Antonio Testore, Milano ca 1758,
Simone Gramaglia Viola Gioachino Torazzi ca 1680
Giovanni Scaglione cello Don Nicola Amati (Bologna 1712)

Calendar

Saturday, July 1, 2017

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Repertoire

Please note: This repertoire list is for reference only. The choice of repertoire for a particular project remains at the artist’s discretion.

String Quartets

Alexander Borodin

String Quartet No. 2 in D major

Anton Webern

Six Bagatelles for String Quartet, Op.9
Langsamer Satz

Béla Bartók

String Quartet No. 3, Sz. 85
String Quartet No. 4, Sz. 91

Claude Debussy

String Quartet in G minor, Op. 10

Dmitry Shostakovich

String Quartet No. 10 in A flat major, Op. 118
String Quartet No. 13 in B flat minor, Op. 138
String Quartet No. 3 in F major, Op. 73
String Quartet No. 8 in C minor, Op. 110

Edvard Grieg

String Quartet no. 1 in G minor, Op. 27

Felix Mendelssohn

String Quartet No. 6 in F minor, Op. 80

Franz Joseph Haydn

String Quartet No. 1 in B♭ major, Op. 1, No. 1, Hob. III:1

Franz Schubert

String Quartet No. 12 in C minor, D. 703, "Quartettsatz"
String Quartet No. 14 in D minor, D. 810, "Death and the Maiden"
String Quartet No. 15 in G major, D. 887, Op. 161

Giuseppe Verdi

String Quartet in E minor

Igor Stravinsky

Three pieces for string quartet

Johann Sebastian Bach

5 Fugues K405 (W. A. Mozart)

Johannes Brahms

String Quartet in C minor, Op. 51, No. 1

Ludwig van Beethoven

String Quartet Op. 127 in E flat Major
String Quartet Op. 130 in B flat Major
String Quartet Op. 132 in A minor
String Quartet Op. 133 in B flat Major 'Grosse Fuge'
String Quartet Op. 135 in F Major
String Quartet Op. 18 No. 2, G-Major
String Quartet Op. 18 no. 5, A-Major
String Quartet Op. 18, No. 1, F- Major
String Quartet Op. 18, No. 3, D-Major
String Quartet Op. 18, no. 6, B-flat Major
String Quartet Op. 59 no. 3 in C Major 'Razumovsky'
String Quartet Op. 59, No.1 "Rasumovsky"
String Quartet Op. 59, no. 2 in E minor 'Razumovsky'
String Quartet Op. 74 in E flat Major 'Harfenquartet'

Robert Schumann

String Quartet No. 1 in A minor, Op. 41/1
String Quartet No.3 in A major, Op.41/3

Wolfgang Amadeus Mozart

String Quartet no. 1 in G Major, KV 80
String Quartet no. 14 in G Major, KV 387
String Quartet no. 15 in D minor, KV 421
String Quartet no. 19 in C Major, KV 465, "Dissonance"
String Quartet no. 23 in F Major, KV. 590, Prussian/3
String Quartet no. 5 in F Major, KV 158
String Quartet no. 6 in B flat Major KV 159
String Quartet no. 7 in E flat Major, KV 160
Other Chamber Music

Franz Schubert

String Quintet in C major, Op. 163, D. 956

Wolfgang Amadeus Mozart

Clarinet Quintet in A Major KV 581 "Stadler"
Flute Quartet, KV 285
Piano Quartet in E Flat Major, KV 493
Piano Quartet in G minor, KV 478
String Quintet in G minor, KV 516
Review
Spitzenniveau
Fono Forum
Tue, 2016-11-01
Review: Ludwig van Beethoven: Complete String Quartets - Vol. 6 Mit seinen Schnörkeln und Trillerfiguren gibt sich Beethovens frühes Quartett op. 18 Nr. 5 noch etwas neckischer, etwas rokokohafter als die Schwesterwerke aus demselben Zyklus. Das Quartetto di Cremona spielt diese Momente mit spitzer Artikulation – und mischt so eine Prise Ironie in seine Interpretation. Auch das Menuett beginnt noch ganz leicht und unschuldig; die Bögen scheinen zunächst über die Saiten zu schweben. Doch dann bricht der leichtfüßige Tanz mit einer rabiaten Geste ab. Wie ruppig die italienischen Streicher diese Passage in die Saiten bürsten, ist eines von vielen Beispielen für die Prägnanz, mit der sie die musikalischen Charaktere ausformen. Auch im abschließenden Finale des A-Dur-Quartetts, das in Beethovens original aberwitzigem Tempo wie aufgeschreckt wirkt, als würden die Motive hektisch durcheinanderwirbeln. Hier deutet sich bereits Beethovens Neigung an, die Interpreten an die Grenzen des Machbaren zu treiben: wie auch und gerade im B-Dur-Quartett op. 130. Der Presto-Satz etwa ist ein echter Fingerbrecher für den ersten Geiger. Manche Ensembles schalten deshalb einen Gang zurück. Das Quartetto di Cremona spielt das Presto dagegen mit extra durchgedrücktem Gaspedal. Die drei unteren Stimmen scheinen die erste Geige im Mittelteil unerbittlich voranzuhetzen – dadurch entsteht eine mitreißende Energie, der man sich kaum entziehen kann. Das Tempo wird zum Ausdruck einer Rastlosigkeit, die die Musik immer weitertreibt. Dieser Tanz auf dem Vulkan ist jedoch nur eine von vielen Facetten des Stücks. Einen denkbar starken Kontrast bildet die Cavatina, sicher einer der schönsten und deshalb auch berühmtesten Sätze aus Beethovens Quartettschaffen. Der erste Geiger Cristiano Gualco und seine Kollegen spielen diesen Satz sehr anrührend und ausdrucksvoll, mit einem wunderbar gedeckten Klang, bevor das Stück mit dem nachkomponierten Finale temperamentvoll endet. Auch mit der sechsten Folge hält das Quartetto di Cremona das Spitzenniveau seiner Gesamtaufnahme.
Spannend bis zum Schluss
Pizzicato
Fri, 2016-09-16
Review: Ludwig van Beethoven: Complete String Quartets - Vol. 6 Die Beethoven-Reise des ‘Quartto di Cremona’ neigt sich ihrem Ende zu, die Spannung bleibt hingegen unvermindert hoch. Auch nach sechs Etappen verliert diese Gesamteinspielung nichts an ihrem Reiz, an der hohen Dichte interpretatorischen Könnens. Die vier Musiker erreichen einen Grad wortloser Kommunikation, der kaum noch zu übersteigen ist. Nur so können sie derart unverkrampft an Beethovens Musik herangehen, die vor allem im Opus 18 immer vorwärts drängt, in der sich der widerspenstige junge Komponist schon deutlich bemerkbar macht. Die Noten vibrieren in allen Saiten, Ecken und Kanten bleiben wissentlich ungeschliffen. Im Impetus gleich, in der Sprache allerdings forscher begegnen wir dem Bonner Meister anschließend in Opus 130. Das ‘Quartetto di Cremona’ lässt uns die Musik noch wesentlich intensiver erleben, sie wirkt schroff und zerklüftet, dann aber wiederum zart und intim. Selten zuvor haben wir die Cavatine derart rein und packend gehört, mit diesem leisen, wehmütigen Unterton. Ein Leben in Musik, das Beethoven gerade in der Schlusstrias seiner Streichquartette verdichtet hat und das kaum packender in Szene gesetzt werden kann, als dies das ‘Quartetto di Cremona’ macht. Compelling, highly communicative and vibrant performances showing the great talent of the four musicians forming one of Italy’s best quartets, Quartetto di Cremona.
Late and Early Beethoven
My Classical Notes
Sat, 2016-08-20
Review: Ludwig van Beethoven: Complete String Quartets - Vol. 6 I am a huge fan of Beethoven’s chamber music. And recordings that combine his early quartets with the very late quartets written shortly before he died create exciting lessons in Beethoven’s musical development. Now there is a new recording by the Quartetto Di Cremona that does just that. Both of these compositions reveal how Beethoven incorporated folk music into his own works; however, in all other aspects the styles of these two string quartets could not be more different. Early and late – with Beethoven this always implies developing questions and expanding compositional ideas. In the case of the works recorded here, we hear the A major Quartet from the Op. 18 set and the B-flat major Quartet, Op. 130. In both the focus is on folk music and its integration into Beethoven’s music. The variations on a simple theme in the Andante of the Quartet Op. 18 No. 5 represent such a case of looking towards popular music, as also does the “Alla danza tedesca” from the late Quartet Op. 130, where the rhythm and character of the good old German dance is alienated to such an extent that it seems to appear as a distant recollection, more than as an actual dance. During the early 1800’s music lovers were delighted to find so soon after Mozart’s death that Beethoven might replace the sorely missed music of Mozart. But Beethoven gradually departed from his initial path, insisted on cutting a new one, and finally went on his own creative journey.
Full of delights
Europadisc
Fri, 2016-07-22
Review: Ludwig van Beethoven: Complete String Quartets - Vol. 6 There was a time, not so long ago, when Beethoven quartet cycles could be rather hit-and-miss affairs, the early quartets often too heavy-handed, the late ones too technically taxing. In recent years, ensembles have appeared for whom the technical demands pose much less of a problem, and who are stylistically much more aware in the early works. Fine recent cycles have included sets from the Takács and Tokyo Quartets, but among the younger generation one of the strongest ongoing cycles is that of the Quartetto di Cremona on the Audite label. Formed in the year 2000, they are very much ‘millenials’: well-informed by the insights of historic performance practice, but now masters enough to create their own path. Trained by members of the Quartetto Italiano and the Alban Berg Quartet, they combine Italianate passion and intensity with Austro-German formal awareness and discipline in ideal measure, and their Beethoven series so far has been full of delights. They now reach volume 6, coupling the fifth of the Opus 18 ‘Lobkowitz’ set – the lovely A major Quartet – with one of the greatest of the late quartets, Op.130 in B flat. It’s typical of their approach as a whole that the earlier work is by no means overshadowed by the latter: in fact, the two pieces complement one another brilliantly. The Cremona players bring sunlit textures to the A major, marrying Mozartian elegance and Haydnesque wit with hints of Beethovenian subversiveness. They also know when to ease off the vibrato – not too frequently, just enough to allow their instruments to ‘speak’ for themselves, with a well-rounded tone that still admits of transparency. The off beat accents in the Minuet’s Trio section are nicely observed, and the performance really shows its quality in a superb account of the third movement Andante cantabile variations, the penultimate variation beautifully poised and inward, the final variation splendidly earthy and forthright (securely underpinned by Giovanni Scaglione’s Amati cello), before a lovingly nostalgic coda. In the closing Allegro, the sense of eavesdropping on a lively yet intimate conversation is at its strongest. A decent pause is allowed by the production team before the players embark on the heights of Op.130. This is a marvellously considered reading in which the various parts, so contrasting in tone and duration, are perfectly integrated into the whole. With the original Grosse Fuge finale already presented separately in volume 3 of the series, this performance allows its replacement to take its rightful place immediately after the Cavatina, and the way in which the Cavatina (a gorgeous account, yet never overplayed) leads not just logically but inevitably into the closing Allegro speaks volumes for the group’s interpretative maturity. The epic opening movement holds no fears for these players, negotiating the gear changes and dynamic contrasts with utter naturalness, and never pushing too hard. The blink-and-you’ll-miss-it Presto is expertly done, its quicksilver tone just a shade more robust than usual, the slides before the return of the opening music very vivid. The heartfelt opening gestures of the Andante third movement have never sounded so affecting – pure-toned and aching before the music gets properly underway. Likewise, the subtle swells of the Alla danza tedesca fourth movement, upon which so much of the music’s folk character rests, are splendidly and finely judged, eclipsing many more illustrious groups in the process. Beethoven’s integration of folk styles into his late works is something that too often eludes musicians: he’d surely have been delighted to hear this performance, refined but free of any cloying preciousness. The recorded sound is intimate but never dry, serving the performances faithfully yet unobtrusively. Those who have been following this excellent modern cycle will snap the disc up immediately: for those who haven’t, this is as fine a place to start as any, and will have you hooked in no time.
Ludwig van Beethoven - Complete String Quartets Vol. 4
Klassik.com
Tue, 2015-12-15
Convincing in every aspect. Whatever recordings of Beethoven’s string quartets one may already have, this performance absolutely must be part of the collection.
Ludwig van Beethoven - Complete String Quartets Vol. 5
Der Neue Merker
Sun, 2015-12-13
Two marvels of Viennese classicism, the String Quintet in C major and String Quartet Op. 132, interpreted with moving expressivity. The Quartetto di Cremona is no longer a secret. The finest Italian chamber ensemble of today unites their own country’s musical tradition with the Austro-German. As before in Volume IV, the group reaches the highest level of expression with an individual, personal interpretation of the music's structures, characterized by a sensual and audacious lyricism and a contemplative-spiritual tone. If Italy has lost a great deal of its reputation as the land of opera, these four magnificent Cremonese musicians are imposing new standards at least in chamber music.
Pizzicato
Ludwig van Beethoven - Complete String Quartets Vol. 5
Sun, 2015-12-13
No compromises. An unusual addition completes the fifth volume of the QdC’s complete Beethoven cycle: the String Quintet in C Major. Its inclusion is a completely logical choice, as it is Beethoven’s only composition for string quintet. This intruder from the years 1800-01 fits in perfectly with the rest of Beethoven’s absorbing works. Lawrence Dutton on second viola is perfectly adapted to the devoted tones of the Quartetto di Cremona. …The intense and compact musical language of the Quartetto di Cremona illustrates vividly how Beethoven’s music itself became spare and compact in his last years. True pure-blooded musicians with impassioned performances of Op. 29 and Op. 132.
Beethoven Quartets Vol. 3
Herald Scotland
Sun, 2014-05-18
I've been raving about this group since the German label Audite released the first volume in their Beethoven string quartet cycle. The Quartetto di Cremona is absolutely the full Mediterranean Monty with their big, open, attacking sound, robust and muscular projection, hyper-confidence of comprehension and delivery. All of their strengths are enshrined in this sensational set of performances, with the nervy edge in opus 18, no 4, the fast-flowing opening cello theme of opus 59 no 1, and, fantastically, in the brilliant, grinding opening and spine-tingling playing throughout a truly great, wonderfully structured and gripping account of opus 133, the Great Fugue. If you can get through this lot without your hair standing on end, see your doctor. I've already suggested they are the natural successors to the late Quartetto Italiano. This is all the confirmation I ever needed. I'm deliberately jumping the gun here: it's due out on June 2. Be ready. Michael Tumelty
Beethoven Quartets Vol. 2
Herald Scotland
Sun, 2013-11-10
When I reviewed the first volume of Beethoven's string quartets in a new recording on the German Audite label earlier this year, I was really excited by what I heard from the Quartetto di Cremona - a group that was at the time new to me, though they have been around since 2000. Their vivid sound and attacking style gave the music a real edge. Moreover, something in that mix reminded me of the long-gone Quartetto Italiano, one of the greatest quartets of all time. Volume Two in the series includes a fantastic performance of the second opus 59 Rasumovsky Quartet, an account which seems to recognise the E minor tonality of the piece as emblematic of the essential restlessness at the heart of the music, while a superb performance of the wondrous opus 127 Quartet is launched with majestic authority and a blindingly lucid understanding of the tensions that lie within the music: again, there's some edgy stuff in here. It's early days in the series, but I'm already tempted to pronounce the Cremona Quartet natural successors to the Quartetto Italiano. Michael Tumelty
Beethoven Quartets Vol. 1
American Record Guide
Fri, 2013-11-01
In this, Cremonas first volume of the Beethoven cycle, we are offered an early quartet, a middle quartet, and a late quartet. Their rendition of No 6 is very good, but unlike the Delians, their reading is very romanticperhaps too much so. I find the lighter reading by the Artemis Quartet (Sept/Oct 2010) somewhat more appropriate. Cremonas reading of No 11 is even more muscular, but here it works splendidly. From the audacious opening statement to the torrential finale, the sparks really fly. No 16 is one of the most enigmatic works in Beethovens oeuvre, known to mystify listeners on the first hearing. For such a work, a good introduction is perhaps a relatively straightforward performance, which is what Cremona delivers here, sticking to the score very faithfully. I dont mean to say that their performance is bland; on the contrary, it is a very expressive and beautiful reading. Its just safe.
Beethoven Quartets Vol. 1
The Strad
Mon, 2013-07-01
"The Cremona Quartet also performs Op. 18. no.6 with jolly playing at the start and plenty of grit to follow. The scherzo is a theatrical experience, as is the opening of the finale, with its vehement dynamic contrasts. Vivid dynamics abound in the F minor Quartet Op. 95, right from its pistol-shot beginning. Tempos are fast - the final Allegro could qualify for the 2016 Olympics. In the F Major Quartet Op. 135 the playing is stern, rhythmically precise with fragility in the Lento and deceptive simplicity in the finale. The recording is close and resonant." Tim Homfray
Beethoven Quartets Vol. 1
BBC Music Magazine
Mon, 2013-07-01
The Quartetto di Cremona exude phenomenal energy and momentum, making their interpretation of Op. 95 particularly compelling. Five Stars
Beethoven Quartets Vol. 1
Chamber
Sat, 2013-06-01
The Quartetto di Cremona, in existence for only ten years, will probably be unfamiliar to many. Here it is a virtuoso ensemble, favouring a tone that seems somewhat edgy, a minor drawback that may well be the product of the engineering. Whatever, it is a formidable ensemble..."In Op. 18 no. 6 Beethoven said the scherzo should be played as fast as possible. Doubtless, he would have been delighted with what is offered here. All in all, this is a superb performance. The Cremona's account of Op. 95 may prove controversial. Its opening movement is fleeter than in any of the great number of recordings or live performances of the work I have heard. But, because the Cremona's playing is so technically accomplished, nothing sounds blurred or smeared. Particularly impressive here is the first violinist, Cristiano Gualco. Although some may find the first movement uncomfortably breathless, even frantic, others may be swept away in admiration. So, too, with the fierce almost antry third movement, which Beethoven would not call 'scherzo', in a work that is clearly 'serious'. Thus the rather grim finale ends in a joyous F Major coda tossed off at a high speed that avoids any blurring." Mortimer H. Frank
Impressive
Tulsa World
Mon, 2013-03-18
Equally unique was the program  all works by Italian composers, three of whom are known more for operas than chamber music. The exception was Luigi Boccherini, whose compositions for small ensembles number in the hundreds. His Quartet in C Major, Op. 32, No. 4, which opened the concert, was bright and lively  even its slow movement might be described as serenely pensive. What was most impressive was the unity of tone these four musicians had in this piece  a dry, crisp sound, quick and precise, that gave this music an additional lift, from the jaunty melodies of the opening to the stately dances that made up the finale. The real highlight of the afternoon, however, was the Quartet in E Minor by Verdi, composed around the time his opera Aida was being premiered. Not surprisingly, it is a highly theatrical, operatic work  agitated, tumultuous music that creates a sense of character and conflict, an urgent forward momentum and all sorts of wild fiddling. Even at its most solemn, the music still contain darkly dramatic strains. And all this was marvelously embodied by the players  violinists Cristiano Gualco and Paolo Andreoli, violist Simone Gramaglia and cellist Giovanni Scaglione. This quartet has an almost 20th century feel to it, in the dramatic shifts, the way melodies will twist in surprising ways, the striking juxtapositions of diverse musical fragments (that lyrical solo by Scaglione coming like an oasis amid the furious fiddling of the third movement, for example). It was a most impressive performance. Puccinis elegiac Crisantemi (Chrysanthemums) followed, featuring musical elements that would later be incorporated into the opera Manon Lescaut, with Cherubinis Quartet No. 3 in D Minor rounding out the afternoon. The Cherubini quartet also contained its share of musical drama, with its inventive and wide-ranging explorations of various melodic materials. And, like everything the Quartetto di Cremona played Sunday, it was executed with a phenomenal sense of energy and passion, by players able to maintain strong individual voices within a tightly knit ensemble. By James D. Watts
Soloists Playing Together
Hudiksvalls Tidning
Sat, 2012-03-03
One listens more closely when one hears the name Quartetto di Cremona. One of Europe's best quartets is visiting our area. The concert programme includes music by Beethoven, Schumann and contemporary Fabio Vacchi. Quartetto di Cremona has a muscular style, chipping Beethoven out of the mountain, a giant, a world spirit battling with his world. Opus 95 is one of the pieces which show the extent of Beethoven's abilities and width. The allegro lets the world spirit move into the salon and lead the conversation, but it returns quickly to the heights. And these musicians command their bows with so much contrast that one sits upright with attention. In Schumann one feels the quartet's ability to combine soloistic playing with chamber music. Their accented style takes care of every opportunity to display the contrasts of this great romantic. Quartetto di Cremona shows the structure of the music clearly, bring Schumann up to the highest level as the majesty of romantic music and show him in a classical temple of light and strong pillars. Saturated with strong feeling, pain and will. The musicians' soloistic abilities are highly impressive, no, their interaction and the total impression impressed more. Three very demanding pieces generally interpreted on high level. Four string players is not a big number, but such spaces they could fill with substance. Jan-Olov Nyström
Magical Ease
Süddeutsche Zeitung
Sat, 2010-11-13
Quartetto di Cremona in Pullacher Mansion A pleasing melodic introduction, from which the audience immediately felt caressed by sounds of an unusual texture: It was a rahter brittle charm the four of the main characters from Quartetto di Cremona unfolded at their concert in Pullacher Bürgerhaus...
With Haydn the Sun Rises
Zollern-Alb-Kurier
Tue, 2010-10-19
Quartetto di Cremona guesting Balingen full of passion and pathos The Cremonese showed a remarkable act of balance, they made the most of the mood changes, and nothing fell apart. They played their parts full of passion and pathos yet never exceeding the natural boundaries. A great applause and a wonderful Haydn-encore.
CD Creates Curiosity
Kulturradio
Tue, 2010-07-20
(…) The Quartetto di Cremona’s interpretations of Haydn are vital and lively. Some details are borrowed from the historical performance practice, likewise the economic use of vibrato or the narrative recitativo of the first violin. (…) All voices in the ensemble are equally important, all of them show virtuosity in quartet playing, one can feel at any time that their homeland Italy is the land of opera – when the music gets cantabile and passionate, the four musicians are in their element.
Shiny Debut with Cremona
Allgäuer Zeitung
Sat, 2010-07-17
Quartett seals the cultural partnership with bow and strings Füssen, The Debut of the internationally renowned Quartetto di Cremona in the Knight’s Hall was a shiny opening of the cultural partnership between the cities of Cremona and Füssen. In the sold out concert the chamber music was enthusiastically celebrated…
Italian Temperament
WDR 3
Sun, 2010-06-06
Since it was founded ten years ago, the Quartetto di Cremona has established itself as one of the most successful chamber music ensembles in Italy. Its great homogeneity, the beauty of sound and extremely cantabile playing are admired by the audience and critics all over the world. The repertoire of the quartet reaches from classical to contemporary music. With composers like Béla Bartók, Ludwig van Beethoven and Joseph Haydn, the ensemble presents a selection of classical and modern classical music, which gives it the opportunity to unfold its typical Italian temperament.
Discography
String Quartets by Haydn and Bartok
Haydn op.54 no. 2 Bartok no. 4 Haydn op.77 no. 1 GENUIN GEN 10172
Luigi Boccherini: Flute quintets
Flute, Andrea Griminelli Quartetto di Cremona Luigi Boccherini (1743-1805) Decca 476 3367 DH DDD CD
Quartetto di Cremona - Portrait
Haydn: Sunrise op.76 no. 4 Brahms: op.51 no. 1 in C minor Schubert: "The death and the maiden" (mp3)
Quartetto di Cremona - Live
Mozart: String Quartet K.421 Schostakovich: String Quartet no. 3 op.73 Rai Trade
Romantic Perspectives
Dvorak and Brahms piano quintets Piano: Filippo Gamba LOL Productions
Amati, Stradivari and Guarneri
String Quartets by Haydn and Borodin played on Amati, Stradivari and Guarneri instruments AXA - Stradivari Foundation
Fabio Vacchi: String Quartets
World Premiere Recording
Beethoven Complete String Quartets
Vol. 1
Italian Journey
Respighi: Quartet in D Major Puccini: Crisantemi Verdi: Quartet in E minor Boccherini: Quartet Op.2 no.6 in C Major
Press Service

Representation:
DK, NO, SE, FI

Members:
  • Cristiano Gualco (Violin)
  • Paolo Andreoli (Violin)
  • Simone Gramaglia (Viola)
  • Giovanni Scaglione (Cello)