Acclaim

The Momentas were at their most potent in Haydn’s Quartet Opus 20 No. 1, applying opulent, sustained legato in the slow movement. Few American players assume Haydn’s idioms with such ease.

Alex Ross, The New Yorker

Word of the Momenta Quartet’s diligence, curiosity and excellence is definitely out

Steve Smith, The New York Times
About Momenta Festival

Many another musical event would do well to follow the festival’s example

George Loomis, Classical Voice America
About Momenta Festival

Over the past three years [the Momenta Festival] has become one of the most amazingly eclectic, never mind herculean feats attempted by any chamber ensemble in this city.... What’s the takeaway from all this? That other ensembles should aspire to be as relevant

New York Music Daily
About Momenta Festival

Unusually topical commentary that touched both the head and the heart… Ferocious energy

Bruce Hodges, Musical America

The Momenta has, yes, that momentum which seizes the moments, makes light of difficulties and gives an always forward, even aggressive delight in their music…The entire program, though, had that sense of animation coming from four players who never let their digital chops overcome what was most essential: Their sense of elation, musical enunciation and sheer joy.

Harry Rolnick, ConcertoNet

An outstanding young string quartet with an exceptionally broad range.

Russell Platt, The New Yorker
About Momenta Festival

What is the Momenta Quartet? Throughout the four-day event, Momenta proposed many solutions to this question by skillfully navigating over four centuries of repertoire… Momenta possesses an honest and heartfelt dedication to exploring this question without yielding to a gimmick or tag line. A sum of inspiration and personal discovery that operates beyond the boundaries of period or aesthetic.

Christian Kriegeskotte, I Care If You Listen

[Momenta Quartet] played with verve, intellect, expression, and impressive instrumental skill. There were vivid musical depictions of myriad experiences and psychological states.

George Grella, New York Classical Review

The performance [of Philip Glass’ Music in Similar Motion] was taut and compelling, as was that of Ives’s brash and quirky quartet… the mesmerizing Glass piece, typically performed on instruments of different families, may be where the players’ vaunted individuality counted the most.

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James Oestreich, The New York Times
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