JACK Quartet – Press

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JACK performs at UChicago Presents

JACK Quartet’s artistry illuminates the darkness of Haas quartet

by Lawrence A. Johnson Chicago Classical Review

February 8, 2020

“Passages of astringent microtonal discord melded into extended, finely concentrated pages in which JACK’s remarkably precise degrees of pianissimo were hypnotic.”

“…the musicians handled the unique performance challenges masterfully and provided stellar advocacy, bringing remarkably detailed and concentrated expression to Haas’ score.”

Concert at 92nd Street Y

Ligeti past is prologue for JACK Quartet’s program of new music

by George Grella New York Classical Review

November 10, 2018

“What was no surprise at all was JACK’s exceptional playing. The quartet is so fine and so well prepared that they never sound less than masterful. There remains something uncanny about hearing music that is supposed to be challenging to the musicians played with such precision and musicality that it gives the illusion of ease; that skill produces performances that are what the composers envisioned rather than misleading simulacrums.”

Iannis Xenakis at Wigmore Hall

Jack Quartet review – astonishing tribute to Iannis Xenakis’s fierce vision

by Andrew Clements The Guardian

February 27, 2017

“Xenakis’s unflinching string writing makes as few concessions to those playing it as it does to its audience, and these performances maintained an astonishingly high standard of execution and concentration. Xenakis’s music always establishes its own expressive parameters; it assumes nothing, and in the quartets Tetras (1983) and Tetora (1990) the Jack Quartet thrillingly conveyed that sense of starting from scratch, of bypassing eight centuries of the western music tradition and instead tapping into something much more untamably ancient.”

Tetora by Iannis Xenakis at Boston University

JACK Quartet finds motion in stillness, stillness in motion at BU

by By Zoë Madonna The Boston Globe

December 2, 2016

“The violins’ individual notes were clearly defined, but with rounded, warm edges, and short, harsh shocks electrified the lower register. A hazy chorale gathered each instrument’s pitch closer in and shifted them further apart. The quartet infused the slow, brooding piece with subtle kinesis. Though the piece seemed to hang in stasis as a whole, its individual undercurrents simmered with austere animation.”