Artist: Lipkind Quartet
Title: Lipkind Quartet: New Worlds
Year Of Release: 2012
Label: Lipkind Productions
Genre: Classical
Quality: flac lossless / flac 24bits - 88.2kHz +Booklet
Total Time: 01:02:59
Total Size: 267 / 951 mb

Tracklist
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01. String Quartet No. 12 in F Major, Op. 96, B. 179 "American": I. Allegro ma non troppo
02. String Quartet No. 12 in F Major, Op. 96, B. 179 "American": II. Lento
03. String Quartet No. 12 in F Major, Op. 96, B. 179 "American": III. Molto vivace
04. String Quartet No. 12 in F Major, Op. 96, B. 179 "American": IV. Finale: Vivace ma non troppo
05. Night
06. String Quartet, Op. 11: I. Molto allegro e appassionato
07. String Quartet, Op. 11: II. Molto adagio
08. String Quartet, Op. 11: III. Molto allegro
09. We Just Wanna Take Your Train (arr. for string quartet)
Traditionally, most string quartets have been composed of players from a single country or, in many cases, players who have spent their formative years studying at the same conservatory. The Lipkind Quartet, by contrast, is a truly multinational ensemble. It is composed of violinists Artiom Shishkov (Belarus), Yusuke Hayashi (Japan), violist Nora Romanoff-Schwarzberg (America and Austria), and cellist Gavriel Lipkind (Germany and Israel).
The members of the Lipkind Quartet generate one new program in each calendar year and perform it along with previously produced programs. Thanks to this working model, each program turns into a kind of year-long intensive case study of a specific stylistic and technical framework, the results of which are taken on stage in the following year and finally recorded on the Lipkind Productions label (in collaboration with Naxos of America and King International of Japan.) An additional feature of their live performances is the marvelous acoustic experience generated by the unusual seating arrangement of the players and the fact that the two violinists alternate the leading part in each work.
"... not only the reasons which brought musicians to play in a quartet have changed, also the science of psycho-acoustics and instrumental knowledge haveevolved. Finally, being a musician, working as a musician, and collaborating with other musicians in a chamber group on a regular basis in the 21st century, are light-years away from the realities of the past. The traditional ways of working in a quartet, which are based on these past realities, require a fundamental review and a radical re-thinking in order to fit the way quartets can live and sound today.' (Gavriel Lipkind)

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