Reviews

As usual, the Ardittis’ command of the techniques and effects required by all the pieces in this demanding programme was complete; as usual, too, their no-nonsense efficiency disguised the special virtuosity required.
The Guardian, Andrew Clements, 14/03/2018

Arditti and colleagues Ashot Sarkissjan (second violin), Ralf Ehlers (viola) and Lucas Fels (cello) brought to [Ligeti’s Quartet No. 2] and ‘Metamorphoses Nocturnes’ the kind of needle-sharp coordination and X-ray-like clarity of detail that has made them the standard bearer among string quartets specializing in music of the 20th century and beyond.
Chicago Tribune, John von Rhein, 21/10/2017

The works presented on this recording [Nunes, Zimmerlin, Feldman, Lachenmann] are not only superb examples of the art of quartet composition in recent decades, they also illustrate the multifaceted nature of the Arditti Quartet’s interpretations.
klassik.com, Stefan Drees, 21/03/2017 – on the CD “First Performance VI” (bmn)

All four instruments clambered ever higher, the first violin in particular frequently dancing like a circus trapeze act. Irvine Arditti took great delight in a part that kept his hands busy, and inspired his three colleagues in turn, who gave the work absolute technical mastery and unconditional commitment.
MusikTexte, February 2017 – on the world premiere of Younghi Pagh-Paan‘s Horizont auf hoher See 

An evening with the Arditti Quartet puts your inner compass in a powerful spin. Expect the unexpected with a quartet which so often strays far from the beaten track. (…) This rollercoaster through the unknown was like a drug delivered straight into the blood stream.
Hamburger Abendblatt, Joachim Mischke, 19/01/2017

A programme of string quartets by Thomas Adès, Brian Ferneyhough and Harrison Birtwistle is a tough nut to crack – for players and audience alike. But the Arditti Quartet are past masters in this repertoire and they delivered accomplished, cogent accounts of all three scores for a sizeable and appreciative [Hampstead Arts Festival] audience.
Barry Millington (Evening Standard)

The Arditti’s realisation of the wit and often extraordinary soundworld of Mason’s Second Quartet was a different kind of aural escape.
The Guardian, Rian Evan, 26/06/2016

The UK premiere of Michael Jarrell’s …in verästelten Gedanken… (Nachlese VIIb), (…) fully exploited the Arditti’s range of colours. In a tapestry of sounds that resembles no other, the quartet held us rapt with eerie harmonies, stabbed us with sudden, stratospheric shrieks, and, at the end, tick-tocked like a gathering of demented clocks, before fading, hauntingly, away. (…) Berio’s Sincronie (…) pushes the performers to their technical limits. The Arditti [Quartet], which has played this action-packed piece for years, made it seem easy.
The Financial Times, Hannah Nepil, 09/11/2015

Schönberg in the morning: a good way to begin any Sunday. At any rate when the Arditti Quartet (…) performs Schönberg’s third String Quartet Opus 30, composed in 1927, with a serenity that defines each dissonance as the most harmonious thing in the world.
Der Tagesspiegel, Frederik Hanssen and Christiane Peitz, 21/09/2015

Tricky pieces only develop adequately if they are played by top-ranking musicians. Irvine Arditti, Ashot Sarkissjan, Ralf Ehlers and Lucas Fels are just that. With their tantilisingly nonchalant accomplishment, one sometimes forgets the enormous difficulties of the works. (...) For the Ardittis, the term “unplayable” does not exist. They always maintain control and most certainly never lack musical presence, charisma and energy.
Schweitzer Musikzeitung, Torsten Möller, 05/06/2014, Wittener Tage für Neue Kammermusik

As a follow up to their all-day marathon at Milton Court in April, the Arditti Quartet brought three more of their apparently endless supply of late 20th-century classics to the Wigmore Hall. The Arditti Quartet played all the works with – it is almost unnecessary to say – consummate, extraordinary mastery.
Andrew Clements, The Guardian, 16/05/2014

Even a whole day of concerts – three programmes containing 15 works, three of them world premieres – was hardly enough to convey the full extent of the Arditti Quartet's achievement across four decades, and how the recent history of the form would have been very different without it.
Andrew Clements, The Guardian, 28/04/2014 on the 40th anniversary marathon at the Barbican Centre London

…the indefatigable Arditti Quartet
Ivan Hewett, The Telegraph, 16/07/2013

The Arditti Quartet are particularly adept at communicating difficult music clearly, and here they told four stories to us in the most brilliant way possible. Whatever I thought of the stories, hearing them like this was a treat.
Paul Kilbey on bachtrack.com, 01/11/2012