Formed in 2016, the Albion Quartet brings together four of the UK’s exceptional young string players who are establishing themselves rapidly on the international stage.
Having made their debuts last season at the Concertgebouw Amsterdam as well as the Auditorium du Louvre in Paris, the 2018/19 season sees the Albion Quartet’s debuts at the Wigmore Hall and at Town Hall/Symphony Hall Birmingham, as well as the release of the first disc of their Dvořák cycle for Signum records. They will also continue their residency at London’s Kings Place and perform at the Oxford Lieder Festival.
In the past season they held a number of residencies, including at the Sainte-Mère Festival in France, and in the UK at Snape Maltings as well as Ryedale and Honeymead Festivals. They also appeared at BBC Radio 3’s Hay Festival, Roland Pöntinen’s Båstad Chamber Music Festival in Sweden and at the Chapelle Musicale Reine Elisabeth in Brussels.
The ensemble's creative curiosity has already led to collaborations with several composers: In spring 2019, they will premiere a new work for soprano and string quartet by Kate Whitley at THSH Birmingham, and June 2019 will see the world premiere of a new full-length quartet by Freya Waley-Cohen at the Aldeburgh Festival. …
“Breathless silence was followed by enthusiastic applause and loud bravos – the audience in the Kaisersaal of Schloss Corvey applauded frenetically after a stunning performance of Dvorak’s Slavonic string quartet by the British Albion Quartet, which brought the festival to a close.”
Neue Westfälische (Burkhard Battran), September 2018
“Tamsin Waley-Cohen’s Albion Quartet played Beethoven’s Op 74 string quartet, The Harp, with (...) bucketfuls of energy, teamwork and ideas.”
The Times (Richard Morrison), 2018
[Josef Suk’s Meditation] begins quietly but builds to a powerful climax before fading into silence and the highly committed performance left a deep impression and a desire to hear the work again.
East Anglian Daily Times (Gareth Jones), 2018
"The Albion Quartet displays the expected virtues of perfect (but natural-sounding) ensemble, a sense of intent communication between its four members and with the audience; they play with great vibrancy and a complementary sense of discipline and balance. They are evidently an ensemble eager to play works from right across the substantial repertoire for String Quartet, and also to design programmes which are far more than just a ‘random’ sequence of master works."
-Seen and Heard (Glyn Pursglove), 2017