January 31 - February 2, 2020
The Daedalus Quartet crafts skillfully wrought performances that are technically superb and eloquently expressive. During 20 years as an ensemble, they have developed their distinctive voice as champions of American music. In concerts, the quartet thoughtfully pairs new compositions with familiar works, opening our minds to new understanding and appreciation of both.
February 1, 2020 - 7:30 p.m.
Tulsa Performing Arts Center
Doors open for wine and conversation
Haydn: Quartet in A Major, Op. 20, No. 6, “Sun”
Mazzolli: Quartet for Queen Mab
Korngold: Quartet No. 3
Our Saturday Salon concerts are currently sold out. Occasionally tickets will become available. To be put on the waitlist, call 918.587.3802 or fill out this form.
Concert Highlight: Friday and Saturday
Korngold’s quartet, rooted in the Austro-Hungarian tradition of Haydn’s music, has a modern character with the sweeping romanticism of his movie scores. An émigré to Los Angeles, he influenced a generation of American composers, including John Williams. Missy Mazzoli’s evocative music creates a portrait of Queen Mab, the fairy made famous in Romeo and Juliet who gives birth to dreams.
Get to know the Daedalus Quartet
Praised by The New Yorker as “a fresh and vital young participant in what is a golden age of American string quartets,” the Daedalus Quartet has established itself as a leader among the new generation of string ensembles. Since winning the top prize in the Banff International String Quartet Competition in 2001, the Daedalus Quartet has impressed critics and listeners alike with the security, technical finish, interpretive unity, and sheer gusto of its performances. The New York Times has praised the Daedalus Quartet’s “insightful and vibrant” Haydn, the “impressive intensity” of their Beethoven, their “luminous” Berg, and the “riveting focus” of their Dutilleux. The Washington Post in turn has acclaimed their performance of Mendelssohn for its “rockets of blistering virtuosity,” while the Houston Chronicle has described the “silvery beauty” of their Schubert and the “magic that hushed the audience” when they played Ravel, the Boston Globe the “finesse and fury” of their Shostakovich, the Toronto Globe and Mail the “thrilling revelation” of their Hindemith, and the Cincinnati Enquirer the “tremendous emotional power” of their Brahms.