On Disc

  • … every variety of conventional and extended technique is put to exceptional use.
    Ana Sokolović: Short Stories in Jazz Word (Canada), June 2020
  • Sokolović proves to be a composer of very intense and dynamic music with influences of (Balkan) folk music and theatre. In the hands of Quatuor Bozzini her compositions come in a very inspired and concentrated performance.
    Ana Sokolović: Short Stories in Vital #1227 (Netherlands), March 2020
  • […] all performed with typical brio and sensitivity by the Bozzinis.
    Ana Sokolović: Short Stories in Bandcamp Daily (USA), March 2020
  • […] both [pieces] afford the same luxurious, cavernous, ultra-resonant immersion into Niblock’s unique sound world, one of the deepest around. As always, beautifully interpreted by the outstanding Bozzini Quartet.
    Phill Niblock: Baobab in The Squid’s Ear (USA), February 2020
  • … highlights of 2019 that embody the breadth and caliber of contemporary Western art music…
    Phill Niblock: Baobab in Sequenza 21 (USA), December 2019
  • Truly mind-expanding music.
    Just So in Aesthetics for Birds (USA), December 2019
  • Jürg Frey’s ethereal Third String Quartet
    String Quartet No. 3; Unhörbare Zeit in The New Yorker (USA), December 2019
  • … des accords qui passent de façon un peu solennelle, quelques appuis de percussions — et la voix, placée, […] qui se pose par dessus, en une temporalité qui pourrait tendre vers l’infini, possiblement.
    floating layer cake in Revue & Corrigée (France), December 2019
  • Very impressive, super-solidly played by the Bozzini plus one — a heady outing.
    Simon Martin: Musique d’art in The Squid’s Ear (USA), September 2019
  • Cette fresque auditive de haute voltige nous chavire aux quatre coins de notre corps, jouant avec notre confort, tiraillant nos méninges. Musique d’art est une escapade sonore intransigeante, défiant son public à plonger au plus profond de lui-même.
    Simon Martin: Musique d’art in Mes enceintes font défaut (Québec), June 2019
  • The entire Just So disc gets its life from the bows of the amazing Quatuor Bozzini. This ensemble performs the most austere music with maximum affect, but somehow never disrupts such music’s formality and poise.
    Just So in Tempo (UK), June 2019
  • Bozzini+ delivers masterful playing and a diverse sense of beauty.
    Bozzini+ in Tempo (UK), June 2019
  • The Canadian ensemble Quatuor Bozzini are really something special. […] And they do all of this with great aplomb and, even more impressively, refinement.
    Phill Niblock: Baobab in Free Jazz (Belgium), May 2019
  • Playing with timbre and pitch the music deeply resonates, and is very expressive and emotional in its own way. In a great performance by Quator Bozzini and Maranda!
    Simon Martin: Musique d’art in Vital #1183 (Netherlands), May 2019
  • On floating layer cake Norwegian percussionist/composer Ingar Zach takes two of his compositions and reimagines them through creative reorchestration.
    floating layer cake in Avant Music News, May 2019
  • Strongly recommended.
    floating layer cake in Dark Entries (Belgium), April 2019
  • The creeping tension of the work lends a sense of movement so directionless and gradual, it feels like the piece is moving backward at times, forcing the listener into themselves, somewhere between a state of trance and hypersensitivity, and when Caroline Bergvall begins to recite a text about departure and in a familiar second person, it lands like a sermon for all your former selves.
    floating layer cake in Exclaim! (Canada), April 2019
  • A kind of stable mystery, Musique d’art can only grow in significance.
    Simon Martin: Musique d’art in The WholeNote #24:7 (Canada), April 2019
  • The Lost Ones was originally written for percussion and voice. But after working with poet/vocalist Caroline Bergvall, guitarist Kim Myhr and the Quatuor Bozzini string quartet on Myhr’s pressing clouds passing crowds, Zach saw the potential for something on a larger scale. The Canadian string quartet figures prominently in the piece. Myhr’s guitar plays off the strings beautifully, adding a gently decorative touch.
    floating layer cake in The Moderns, March 2019
  • Low frequency tones fall in the hollows and as slow booming percussion takes steps an alert violin leads to a tiny gaggle of chimes. Drone and drama as the strings twitch quickly, instantly.
    floating layer cake in Toneshift (USA), March 2019
  • Miller’s string quartet About Bach won the 2016 Jules Léger Prize, Canada’s highest honour for new chamber music, giving it serious momentum. It’s the centrepiece of Bozzini Quartet’s 2018 release Just So, an album devoted to Miller’s music.
    Just So in CBC Music, March 2019
  • Recommended for late night listening.
    floating layer cake in nitestylez.de (Germany), March 2019
  • The Bozzinis excel at this kind of intricate, infinite music…
    Phill Niblock: Baobab in 5:4 (UK), March 2019
  • This recording […] testifies to their willingness to take on challenges to find new musical ground.
    Phill Niblock: Baobab in The WholeNote #24:6 (Canada), March 2019
  • Just So permet de plonger l’auditeur dans une musique relativement déroutante…
    Just So in Revue & Corrigée #119 (France), March 2019
  • La multiplication des pistes […] permet aux quatre musiciens du quatuor de renforcer l’effet drone de la pièce.
    Phill Niblock: Baobab in Revue & Corrigée #119 (France), March 2019
  • L’écoute se révèle fascinante…
    Simon Martin: Musique d’art in Revue & Corrigée #119 (France), March 2019
  • Montréal’s peerless Quatour Bozzini uses overdubbing to adapt two typically intense works by Phill Niblock, originally scored for orchestra, illuminating the inherent psychoacoustic effects with breathtaking power.
    Phill Niblock: Baobab in Bandcamp Daily (USA), February 2019
  • Martin set out to create a fecund dialectic of sound and music with the piece, and in that he has succeeded. (cqb_1922). […] Both pieces are quintessential Niblock — thickly textured swarms of drones made up of microtones and moving timbres. Sustaining the requisite long tones undoubtedly is a challenge to the players’ physical stamina, but the sounds never falter. (cqb_1924)
    Simon Martin: Musique d’art, Phill Niblock: Baobab in Avant Music News, February 2019
  • Le Quatuor Bozzini épouse cette musique avec un naturel déroutant.
    Just So in La Scena Musicale (Québec), February 2019
  • This version of Disseminate stands among the mightiest episodes met over decades of acquaintance with Niblock’s material. Its character is extraordinarily “in your face”
    Phill Niblock: Baobab in Touching Extremes (Italy), January 2019
  • My 40 favorite albums of 2018
    Just So in Peter Margasak, January 2019
  • Best Chamber CD
    Bozzini+ in Sequenza 21 (USA), December 2018
  • Cassandra Miller’s music has knocked me sideways.
    Just So in Herald Scotland (UK), December 2018
  • … varied works that possess a rare, original lyricism, in which traditional materials are fragmented and recast…
    Just So in The WholeNote #24:3 (Canada), November 2018
  • The texture is thick and creamy, very complex and lovely, the phrases almost conversational, as though discussing and contemplating that aforementioned threshold, but doing so with little apprehension. It ends with quiet acceptance.
    Gyula Csapó: Déjà? Kojâ? in The Squid’s Ear (USA), October 2018
  • History has been made.
    Just So in All About Jazz (USA), October 2018
  • It’s an immensely satisfying, soft kind of almost-lullaby, a fine ending to a superb recording.
    Just So in Just outside (USA), September 2018
  • Trip, en quatre mouvements asymétriques, entraîne l’auditeur dans un voyage hallucinant…
    Christopher Butterfield: Trip, Gyula Csapó: Déjà? Kojâ? in Revue & Corrigée #117 (France), September 2018
  • Quatuor Bozzini make the fiendish technical requirements of playing this piece with finesse all but invisible.
    Just So in Boring Like A Drill, August 2018
  • Cassandra Miller: Just So; O Zomer! CD review — profoundly haunting — 4 stars
    Just So in The Guardian (UK), August 2018
  • Quatuor Bozzini was a stellar choice; their long relationship with the composer, and their ability to make every swell and timbral juxtaposition count in music where they are paramount, renders their interpretations second to none.
    Just So in Dusted Magazine (USA), August 2018
  • … the Quatuor Bozzini maintain a clarity of individual articulation, even in the densest passages.
    Gyula Csapó: Déjà? Kojâ? in Avant Music News, May 2018
  • … a very rewarding and satisfying experience,  revealing an intriguing beauty…
    Gyula Csapó: Déjà? Kojâ? in Vital #1133 (Netherlands), May 2018
  • At once static and tumultuous, this is depth experience, rewarding all the attention one can give it.
    Gyula Csapó: Déjà? Kojâ? in The WholeNote #23:8 (Canada), May 2018
  • In the closing section, the piece turns to a repeated and strangely vertiginous ascending motif made all the more affecting by the performers’ restrained urgency. The quartet, supplemented by violist Jennifer Theissen and the fine Baroque/early music cellist Elinor Frey, bring out an understated but real richness in the piece
    Christopher Butterfield: Trip in Percorsi Musicali (Italy), January 2018
  • The Bozzini deliver with aplomb…
    Christopher Butterfield: Trip in La Folia (USA), January 2018
  • Since forming in 1999, Montréal’s Quatuor Bozzini have steadily ascended to become not only one of the most daring string quartets in Canada, but in the entire world.
    Christopher Butterfield: Trip in Bandcamp Daily (USA), December 2017
  • My personal discovery of 2017 was the insistently haunting music of the US-born, Canadian-based Linda Catlin Smith, both in concert at the Huddersfield festival and on Drifter
    Drifter in The Guardian (UK), December 2017
  • The results are mesmerising on her double album of chamber music, Drifter, with poised performances from Apartment House and the Bozzini Quartet
    Drifter in Herald Scotland (UK), December 2017
  • Linda Catlin Smith, Drifter
    Drifter in The New Yorker (USA), December 2017
  • … Robert et René continuent à proposer une sorte de free jazz fort roboratif, tonique en diable.
    Chants et danses… with Strings! in Revue & Corrigée #114 (France), December 2017
  • The activities of Lepage and Lussier — quirkily proficient in clarinet and guitar respectively — are exquisitely complemented by Bozzini’s strings…
    Chants et danses… with Strings! in Touching Extremes (Italy), September 2017
  • At times haunting and tense, their sound is also unadorned, unaffected and exquisite.
    Christopher Butterfield: Trip in The WholeNote (Canada), August 2017
  • Overall an extremely satisfying release — absorbing music incisively performed by Quatuor Bozzini.
    Christopher Butterfield: Trip in The Squid’s Ear (USA), June 2017
  • The sonic narrative on track ten […] sums up the duo’s interaction most succulently, politically and meaningfully.
    Chants et danses… with Strings! in The WholeNote #22:9 (Canada), June 2017
  • … uniquely beautiful, but defiantly provocative works.
    Drifter in The WholeNote #22:8 (Canada), May 2017
  • Over the past year or so I haven’t been alone in noticing how much of the freshest, most intriguing and affecting music has been coming from Canadian composers.
    Drifter in Boring Like A Drill, May 2017
  • Impeccable playing from Apartment House and Quatuor Bozzini, the Barcelona and Real Madrid of small experimental music ensembles…
    Drifter in Fluid Radio (UK), May 2017
  • … also alights on some lovely episodes of waxing and waning counterpoint, its fragility countered by the unity displayed by the quartet as a whole.
    Drifter in 5:4 (UK), April 2017
  • Evocative imagery for truly evocative music-making.
    Drifter in Sequenza 21 (USA), April 2017
  • Drifter is impossible to fault; it is impeccable from first note to last
    Drifter in All About Jazz (USA), April 2017
  • mind-blowing album […] masterpiece of experimental music
    Chants et danses… with Strings! in Can this even be called music?, March 2017
  • The results are beautiful: poised and thoughtful, never forced.
    Drifter in The Guardian (UK), March 2017
  • Since forming in 1999, Montréal’s Quatuor Bozzini have steadily ascended to become not only one of the most daring string quartets in Canada, but in the entire world. The consistently bring both an exquisite touch and a refined sensibility to music that demands invisible rigor.
    Christopher Butterfield: Trip in Bandcamp Daily (USA), March 2017
  • … the tantalizing extract from a Quatuor Bozzini performance of Smith’s string quartet Folkestone.
    Drifter in The Log Journal (USA), January 2017
  • ★★★★
    Chants et danses… with Strings! in Voir (Québec), January 2017
  • Best of 2016: Noteworthy Recordings
    String Quartet No. 3; Unhörbare Zeit in The Log Journal (USA), December 2016
  • Alex Ross — Tweeter: My favorite disc of the year — extraordinary playing, extraordinary music.
    String Quartet No. 3; Unhörbare Zeit in The New Yorker (USA), December 2016
  • This is music of enveloping mystery and enigmatic beauty.
    String Quartet No. 3; Unhörbare Zeit in WQXR (USA), November 2016
  • C’est un ballet délicat qu’a composé Jürg Frey et qu’interprète ici le Quatuor Bozzini
    String Quartet No. 3; Unhörbare Zeit in Le son du grisli (France), September 2016
  • Björk recommends: “Jürg Frey slo-mo string stuff”
    String Quartets, String Quartet No. 3; Unhörbare Zeit in The Creative Independent (USA), September 2016
  • The Quatuor Bozzini has made rapt recordings of the quartets
    String Quartet No. 3; Unhörbare Zeit in The New Yorker (USA), September 2016
  • The Montreal-based Quatuor Bozzini are ideal interpreters of Clementi’s music. […] Champions of new music performance at a high level, with an international reputation and their own Collection QB recording label, this is an ensemble well worth experiencing.
    Aldo Clementi: Momento in The WholeNote (Canada), September 2016
  • Ce sont sans doute les compositions de Simon Martin qui nous apparaissent les plus intéressantes.
    Simon Martin: Hommage à Leduc, Borduas et Riopelle, Aldo Clementi: Momento in Revue & Corrigée #109 (France), September 2016
  • Worth seeking out images of these stark monochrome oils with their sharp strokes of black, white and grey
    Simon Martin: Hommage à Leduc, Borduas et Riopelle in The Sound Projector (UK), August 2016
  • These various canons and other pieces, ranging in date from 1968 to 2005, brought a deathly pallor to my skin, induced short breathing, and made me dream of wandering 19th-century parlours with no windows and heavy green wallpaper everywhere.
    Aldo Clementi: Momento in The Sound Projector (UK), August 2016
  • New and recent recordings of interest
    String Quartet No. 3; Unhörbare Zeit in The Rest is Noise (USA), August 2016
  • Their investment is palpable on this recording, and their impeccably clear, mostly vibratoless inflection flatters Clementi’s remote yet generous work.
    Aldo Clementi: Momento in Musicworks (Canada), June 2016
  • Taken together, this quartet program is powerfully autumnal. The Bozzini’s superbly blended colors have been mentioned before, and here they create galaxies that wobble before receding.
    Aldo Clementi: Momento in La Folia (USA), May 2016
  • It’s music of power, beauty and originality, worthy of its subjects.
    Simon Martin: Hommage à Leduc, Borduas et Riopelle in The WholeNote (Canada), March 2016
  • … by their suggested relationship with time, the three works beckon contemplation.
    Simon Martin: Hommage à Leduc, Borduas et Riopelle in Downtown Music Gallery (USA), March 2016
  • The balance of the timbre of strings, low register percussion, the rustle of room sounds and the mercurial pacing of sound and silence is fully entrancing.
    String Quartet No. 3; Unhörbare Zeit in Point of Departure #54 (USA), March 2016
  • Trois approches, trois défis, parfaitement assumés.
    John Cage: Four in Revue & Corrigée #107 (France), March 2016
  • … réalisée de manière aussi virtuose que magique
    String Quartet No. 3; Unhörbare Zeit in Revue & Corrigée #107 (France), March 2016
  • Il s’agit d’invitations à la contemplation dans lesquelles, comme l’explique le compositeur, le sonore a préséance sur le musical. Inspirant.
    Simon Martin: Hommage à Leduc, Borduas et Riopelle in Voir (Québec), January 2016
  • There’s lots of shimmering, rumbling constellations of sound, an indistinct haziness that beguiles the ear.
    String Quartet No. 3; Unhörbare Zeit in Fluid Radio (UK), January 2016
  • The group’s recording of the half-hour piece is beautiful for the up-close, quiet, grainy realness of the string timbres
    String Quartet No. 3; Unhörbare Zeit in The Guardian (UK), December 2015
  • Rarely is music so gorgeously listenable also so explorative, rarely does music with one eye of music’s traditions sound so thoroughly modern. This is out there on its own.
    String Quartet No. 3; Unhörbare Zeit in The Watchful Ear, November 2015
  • … the music unfolds via regularly spaced chords, delivered calmly and flatly, at times dispersing into episodes of overlapping, drawn-out pitches.
    String Quartet No. 3; Unhörbare Zeit in 5:4 (UK), November 2015
  • Here the Bozzinis demonstrate their impressive range, playing together, apart and indifferently.
    John Cage: Four in La Folia (USA), November 2015
  • The Bozzini Quartet has been a quality purveyor of contemporary music for string quartet since 1999…
    John Cage: Four in MusicWeb International (UK), September 2015
  • Quatuor Bozzini does a fine job of traversing this music, inevitably creating new works in the process.
    John Cage: Four in The WholeNote (Canada), September 2015
  • The Quatuor Bozzini are a national treasure…
    John Cage: Four in PAN M 360 (Québec), January 2015
  • Taken as a whole, this CD presents a solid compositional voice from Underhill and showcases excellent musicians
    Still Image in I Care if You Listen (USA), February 2013
  • Le travail des quatre musiciens du Quatuor, en variant notamment la sonorité et les approches de leurs instruments respectifs, apporte les couleurs nécessaires à la transcription de ces partitions entre monophonie et polyphonie.
    Martin Arnold: Aberrare, À chacun sa miniature in Revue & Corrigée #94 (France), December 2012
  • Le Quatuor Bozzini a atteint une renommée internationale bien méritée par son talent et sa persévérance dans la programmation d’un répertoire musical ancré dans la recherche et l’expérimentation.
    À chacun sa miniature in Circuit (Québec), October 2012
  • Excellent readings by the Montréal-based Bozzini Quartet (violinists Clemens Merkel and Mira Benjamin, violist Stephanie Bozzini, and cellist Isabelle Bozzini), whose devotion to new music — particularly in their annual Composers Kitchen — is laudable.
    Still Image in American Record Guide (USA), September 2012
  • … textures are so transparent that light shines through and timbres are so tangible you can almost reach out and touch them.
    Still Image in Gramophone (UK), September 2012
  • Bozzini Quartet is a very special quartet. They have built up a varied and extensive repertoire.
    À chacun sa miniature, Martin Arnold: Aberrare in Vital #840 (Netherlands), July 2012
  • As always, the quartet’s execution is clean, precise, and radiant…
    À chacun sa miniature in Musicworks #113 (Canada), June 2012
  • … proved both a welcome sample of his recent work and a demonstration of his personal journey as a composer.
    Still Image in The Vancouver Sun (Canada), March 2012
  • … mélodies d’une simplicité enfantine, toujours tempérées et profondes.
    Martin Arnold: Aberrare in Le son du grisli (France), February 2012
  • Bel exploit.
    Jean Derome, Joane Hétu: Le mensonge et l’identité in Le son du grisli (France), February 2012
  • … tant les nuances et déviations inspirent de subtilité à ces deux pièces.
    Daniel Rothman, Ernstalbrecht Stiebler: Sens(e) Absence in Le son du grisli (France), February 2012
  • The Bozzini Quartet provides haunting interpretations of Underhill’s third and fourth string quartets, which sneak up on the heart via the head.
    Still Image in The Globe and Mail (Canada), February 2012
  • Our verdict is in: This was the year’s best music
    Martin Arnold: Aberrare in The Globe and Mail (Canada), December 2011
  • Not an easy work this suite. Life isn’t an easy matter either.
  • … il y d’abord des pièces qui interroge l’homme, à la fois dans son positionnement dans la société, que part rapport à lui-même.
  • … l’enregistrement impliquait pour les musiciens de se déplacer et d’improviser dans cet univers unique qui amène l’auditeur à une réflexion sur sa propre identité.
    Jean Derome, Joane Hétu: Le mensonge et l’identité in SOCAN, Paroles & Musique #18:2 (Canada), June 2011
  • Their dedication to new music is unwavering […] this is the hardcore end of uncompromising
    Daniel Rothman, Ernstalbrecht Stiebler: Sens(e) Absence in MusicWeb International (UK), June 2011
  • … this reading by Quatuor Bozzini of Martin Arnold’s work is equally brilliant, articulating his amblingly weightless melodies with clean precision.
    Martin Arnold: Aberrare in Musicworks #110 (Canada), June 2011
  • We are more interested, always, in the infinite detail of the present moment in Arnold’s music… — a state of mind that is enhanced by the delicacy and conviction of the Bozzini Quartet’s interpretations. 4 stars
    Martin Arnold: Aberrare in The Globe and Mail (Canada), May 2011
  • Introspective and captivating. 9/10
    Jean Derome, Joane Hétu: Le mensonge et l’identité in Montreal Mirror (Québec), April 2011
  • Hétu et Derome sortent de leur zone de confort et cela leur réussit tout à fait.
  • On ne s’ennuie pas vraiment sur ce disque, parce qu’il s’y passe beaucoup de choses
    Jean Derome, Joane Hétu: Le mensonge et l’identité in Monsieur Délire (Québec), February 2011
  • … est brillamment interprétée par les musiciens, qui jouant dans un contexte beaucoup moins scripté qu’à l’habitude, y offrent de loin, un de leur meilleur disque.
  • Il risultato è di abbacinante bellezza. Senza dubbio la perla delle nuove uscite AM.
    Arbor Vitæ in Wonderous Stories #16 (Italy), December 2009
  • Hier wird im Detail deutlich, welche außerordentliche musikalische Leistung die Umsetzung all dieser Komposition tatsächlich darstellt: Dem Quatour Bozzini und seinen Quintett-Mitstreitern ist dafür unbedingt Respekt zu zollen.
    Arbor Vitæ in Klassik.com (Germany), July 2009
  • … one of the finest new music quartets on the scene, skilful and dedicated young players with a consistently adventurous approach to repertoire.
    Arbor Vitæ in Thirty-One (Netherlands), July 2009
  • Que l’on parle ici des compositions rassemblées ou du groupe chargé de leur interprétation, une chose est sûre : l’ensemble est prodigieux!
    Arbor Vitæ in Octopus (France), June 2009
  • This music is unique, with awesome performances by Quatuor Bozzini
    Arbor Vitæ in The Wire #302 (UK), April 2009
  • This recording by the Quatuor Bozzini of the American-Canadian composer James Tenney is essential for anyone interested in experimental music of the 20th century.
    Arbor Vitæ in The WholeNote #14:7 (Canada), April 2009
  • Quatuor Bozzini play every note with microscopic attention to detail and nuance, making even the smallest gesture contribute to this finely faceted gem.
    Arbor Vitæ in Exclaim! (Canada), April 2009
  • Ce double album est tout simplement fabuleux, essentiel, tripatif. […] precipitez vous… afin de vous procurer ce «must» en musique contemporaine.
    Arbor Vitæ in La Scena Musicale #14:5 (Québec), February 2009
  • un viaggio capace di esaltare e lasciare basiti di fronte al farsi di diversi capolavori.
    Arbor Vitæ in Blow Up #129 (Italy), February 2009
  • … das engagiert auf unausgetretenen Pfaden wandelnde Quatuor Bozzini, das 2007 u.a. mit dem Förderpreis der Siemens Stiftung ausgezeichnet worden ist, [hat] beim kanadischen Label Collection QB (Québec) eine Doppel-CD mit einem Programm vorgelegt, das für Tenney instrumentales Schaffen bis zu einem gewissen Grade repräsentative genannt werden kann…
    Arbor Vitæ in BR-online (Germany), January 2009
  • Each of these three pieces is performed with great care, color, and musicality.
    Le livre des mélancolies in Sequenza 21 (USA), July 2008
  • Mai avremmo sospettato che da quattro archi si potessero ricavare una così variegata tavolozza cromatica: musica davvero “abbacinante”!
    Canons + Hoquets in Wonderous Stories #13:36 (Italy), July 2008
  • Le qualità strumentali del quartetto canadese che porta il nome della sua violoncellista Isabelle Bozzini, sua fondatrice nel 1999 si possono riscontrare qui più sulle caratteristiche del suono (ottimo), piuttosto che sul fraseggio (molto controllato).
    Canons + Hoquets in Altremusiche (Italy), June 2008
  • Le Quatuor Bozzini y est si remarquable qu’il donne des ailes aux compositeurs […] Du miel pour l’oreille.
    Le livre des mélancolies in Voir (Québec), May 2008
  • Es ist hörbar Musik, zu der das hervorragende kanadische Quatuor Bozzini eine große Affinität besitzt. So wird jede Gestalt nachdrücklich, jeder Zusammenklang bekommt Raum und Tiefe.
    Canons + Hoquets in Neuen Musikzeitung (Germany), May 2008
  • In their similarities and differences they make an inspiring anthology…
    Canons + Hoquets in Vital #624 (Netherlands), April 2008
  • Le premier affectionne les canons sensuels et langoureux; le second préfère une musique primesautière et nerveuse.
    Canons + Hoquets in CFLX 95.5 FM (Québec), January 2008
  • The revered Montréal-based Quatuor Bozzini are great modern explorers. Transcending musical traditions is their entire raison d’être. […] a confident work of art; something other-worldly, textured, occasionally repetitious, fragmented, canonic and medieval. It’ll freak your entourage, and inspire you to new heights. It’s gloriously pompous, really.
    Canons + Hoquets in Panpot (Québec), October 2007
  • … this album is achingly beautiful and is dripping with the intensity and sensuality created by a group of musicians playing difficult music with great passion…
    String Quartets in Richard Pinnell Blog (UK), August 2007
  • Das Streichquartett Namenlose Gärten entstand 2003 für das kanadisch-deutsche Quatuor Bozzini und wird von diesem Ensemble fabelhaft ausgeleuchtet.
    Und. Ging. Außen. Vorüber. in MusikTexte #114 (Germany), August 2007
  • A new must-have for you to discover.
    Steve Reich: Different Trains in Downtown Music Gallery (USA), June 2007
  • Quatuor Bozzini’s Different Trains turns a new page in the history of contemporary music. It provides a new landmark.
    Steve Reich: Different Trains in Wayside Music (USA), January 2007
  • This otherworldly quartet conjures the a cappella passages of Verdi’s Requiem.
    String Quartets in La Folia (USA), December 2006
  • Montréal is well worth the trip.
    Portrait Montréal in La Folia (USA), December 2006
  • The quartet reinvigorate the piece with its intense playing and attention to detail…
    Steve Reich: Different Trains in Sonomu (UK), March 2006
  • … une heureuse et dynamique relecture de l’œuvre.
    Steve Reich: Different Trains in Revue & Corrigée #67 (France), March 2006
  • The Quatuor Bozzini… has produced a vivid, gutsy recording.
    Steve Reich: Different Trains in The WholeNote #11:5 (Canada), February 2006
  • Quatuor Bozzini have done an excellent job of bringing it to life.
    Steve Reich: Different Trains in Splendid E-Zine (USA), December 2005
  • On peut remercier le Quatuor Bozzini d’avoir revisité cette partition à la fois mouvante et émouvante…
    Steve Reich: Different Trains in L’Express (Canada), December 2005
  • Quatuor Bozzini va il merito di averla ripescata 15 anni dopo quella del Kronos Quartet e molti fans so che gradiranno.
    Steve Reich: Different Trains in Blow Up #91 (Italy), December 2005
  • Immediately ranks in the top for 2005.
    Steve Reich: Different Trains in wReck thiS MeSS (Netherlands), November 2005
  • D’une réalisation soignée…
    Steve Reich: Different Trains in La Presse (Québec), October 2005
  • Très belle interprétation d’une œuvre profonde et saisissante.
    Steve Reich: Different Trains in Ici Montréal (Québec), October 2005
  • Dans le jeu du Quatuor Bozzini la précision et la vivacité trouvent un équilibre idéal… Le Quatuor Bozzini souligne de façon admirable les cellules structurelles. En dépit d’une formidable impression d’accomplissement du jeu, la froide perfection est bannie.
    Portrait Montréal in MusikTexte #106 (Germany), September 2005
  • … mais le tout demeure un joli portrait de nos compositeurs montréalais.
    Portrait Montréal in emoRAGEi #23 (Québec), March 2005
  • Picked as the Prix Opus 2001 “Discovery of the Year,” this is indeed an ensemble to watch.
    Portrait Montréal in The WholeNote #10:6 (Canada), March 2005
  • Raffiné.
    Portrait Montréal in SOCAN, Paroles & Musique #12:1 (Canada), March 2005
  • … des croisements subtils et complexes entre les quatre musiciens.
    Portrait Montréal in Revue & Corrigée #63 (France), March 2005
  • … Quatuor Bozzini gives us both something to treasure now, and further delights to look forward to.
    Portrait Montréal in Splendid E-Zine (USA), February 2005
  • What strikes me first listening to this CD is the enthousiastic and daring playing by this quartet… First of all this CD introduces us to a great and ‘fresh’ string quartet and secondly it offers a well-balanced portrait of modern composed music from Canada.
    Portrait Montréal in Vital #456 (Netherlands), January 2005
  • Une collection qui nous réserve bien des surprises.
    Portrait Montréal in Voir (Québec), December 2004
  • L’excellent Quatuor Bozzini grave un premier disque à l’image de son mandat de faire découvrir les musiques contemporaines d’ici. Il le fait très bien, avec cohésion et personnalité, avec l’éclectique Portrait Montréal.
    Portrait Montréal in La Presse (Québec), December 2004
  • Une très bonne nouvelle que ce premier disque du Quatuor Bozzini…
    Portrait Montréal in La Scena Musicale #10:4 (Québec), December 2004