Gershwin Quartet    

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“Finally, really good music!”, the cries of an enthusiastic audience member, who also spoke for the rest of the public from his heart. The Gershwin Quartet received everlasting applause following their outstanding playing and were celebrated with huge enthusiasm.”

Frankfurter Rundschau

“The strings sit in their places, no trace of Feidman. A soft tone emerges from far away in the hall. From the back emerges the man who appeared in Vilsmeyers “Comedian Harmonists”, in the film “Jenseits der Stille”. A breath of clarinet sensitizes the ear. The acoustic in the room is excellent, one could hear a pin drop, the public seems to have held their breath as Feidman made his way through the rows towards the stage. There he animates his public to hum a tone, which serves as the root for himself and the Gershwin Quartet upon which a charming and melting melody blooms. It's a wonderful temple full of spiritual and animated energy.”

Stuttgarter Zeitung

“The engagement of the Gershwin Quartet was combined with outstanding control. The ensemble which was founded in 1990 in St. Petersburg is that of the famous Russian tradition, with brilliance of feeling, combining virtuosity and lyrical expression. Music friends from far and wide experienced a magical Serenade evening, combining impressive ambience, a varied program and an extraordinary niveau. Enthusiastic applause and bravos thanked the musicians for a successful evening.”

Taunus Zeitung

“The Sonata Arpeggione from Franz Schubert as interpreted from Feidman is a smorgasbord to the ear. Together with the Gershwin Quartet the work (in the arrangement for clarinet and strings) is a world premiere~unforgettable, incomparable. Together they play Gershwin, scenes from Porgy and Bess, then “Donna, Donna” being murmured under his breath, and then on to the South American tango. Regardless of what Feidman plays, an air of Klezmer swings along. The agitated tones, the held tones~excitement and relaxation. They jazz until landing at pure Klezmer. Feidman forms letters from the notes, words from the bars. And so whole stories are told. Feidman, prophet of reconciliation and understanding, delivers music which everyone can identify with. His music becomes speech. And as in a good marriage, joy and lament, side by side, Feidman and his clarinet laughing and crying together. They are a pair, melted into another.”

Ludwigsburger Zeitung

“In 1996 Giora Feidman recorded the music for the film “Jenseits der Stille”. In “Schindler's List” and “Comedian Harmonists”, he even took over a small role. In the nearly fully packed house, the clarinetist Giora Feidman was at first not to be seen. After the Gershwin Quartet welcomed the public with Georges Gershwin's “Lullaby”, dark clarinet tones penetrated from far away in the hall. The master is here. He stands in the auditorium and plays his instrument as softly as a flute, almost inaudible yet poignantly clear. In the middle of the stage, the quartet makes an explosive impression on the public with the sounds of the “King of Klezmer”. Feidman wants to reconciliate through his music. Thus, the argentinian tango, jewish Klezmer, classic and modern are equal partners. Standing ovation for Feidman and the brilliant Gershwin Quartet.”

Hamburger Morgenpost
 
     
 
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