25/04/2026
IT’S TOMORROW 👏👏🎶🎶🎶🎶🎉🎂🍰
Read about it here…(booking in advance is recommended for catering purposes🍰🎂🧁🍥🥮)
https://broadstonemusicseries.info/slate-string-quartet/
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Not long to go now before our next special spring recital, this time by the highly acclaimed Slate Quartet . Some of our audience will recognise the superb viola player Carys from BSO where she starts as a sub principal viola next week:
https://luminaterecords.com/carys-barnes/
https://www.instagram.com/slatequartet?igsh=bXZkOGx0ZHI2Y3Vp
The quartet will also coach some of our talented Youth Camerata musicians during the day who will appear with the Slate quartet for an additional piece🎶
Read on …………
This is a seriously exciting programme - full of contrast, personality, and emotional punch. It feels like a journey across centuries, showing just how expressive and versatile the string quartet can be.
Starting with String Quartet in C major, Op. 20 No. 2 by Joseph Haydn - this is Haydn at his most inventive. The Op. 20 set is often called the “Sun” quartets, and for good reason: they radiate energy and originality. No. 2 is full of wit and surprise, with that wonderfully dramatic opening and a finale that pushes into darker, almost stormy territory. It’s Haydn redefining what a string quartet can be, not just polite background music, but a real conversation between four equal voices. You can practically hear him laying the groundwork for everything that follows in the programme.
Then they jump forward to String Quartet No. 2, Quarter Notes = 120 by Jefferson Friedman, and the sound world shifts completely. The title alone hints at something precise and driving, and the music absolutely delivers, rhythmic, propulsive, and hypnotic at times. There’s a raw, almost physical energy here, with textures that feel both modern and immediate. It’s the kind of piece that grabs your attention and doesn’t let go, showing how the quartet form is still evolving and speaking in a contemporary voice.
And then, String Quartet No. 2 in A major, Op. 68 by Dmitri Shostakovich. This is where everything expands emotionally. Written during World War II, it’s huge in scale and intensity; almost symphonic in its scope. You get everything here: bold, declamatory gestures, eerie stillness, biting sarcasm, and deep, searching lyricism. The famous “Recitative and Romance” movement feels incredibly intimate, like a private confession, before the finale drives forward with relentless energy. It’s powerful, unsettling, and completely gripping.
What makes this programme so compelling is how it traces a line: from Haydn inventing the quartet as a form of conversation, through Friedman pushing its rhythmic and textural boundaries, to Shostakovich using it as a vehicle for profound emotional and historical expression. Three completely different musical languages, but all united by the same four instruments, constantly reinvented.
This is the kind of programme that keeps both players and audience on edge, in the best possible way.
Hope to see you there 🎶
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