The St. Lawrence String Quartet — whose ongoing exploration of nontraditional venues and new audiences was developed, in part, by early community outreach opportunities — observed a need for similar training programs for the next generation of emerging artists. In response to this need, the SLSQ developed the Emerging String Quartet Program (ESQP).
The ESQP is a workshop focused on community outreach for young professional musicians, in which emerging ensembles are invited to Stanford for a residency of one to two weeks. During the residency, the musicians receive coaching from the SLSQ and experience an intense schedule performing both on- and off- campus for a variety of schools, community groups and Silicon Valley businesses. The musicians, already highly accomplished presenters and performers, are provided rare opportunities to interact with the audiences to develop both their skills as performers and as community builders.
Since the program launched in 2009, the greater Stanford community has benefited from the electricity, passion and excellence of these extraordinary young ensembles while the musicians have gained valuable experience presenting to a wide variety of audiences in a short period of time. The ensembles have gone on to develop rich connections with their communities both in the U.S. and abroad.
On-campus venues have included the SLAC National Accelerator Laboratory, libraries, medical facilities, and research labs, as well as graduate and undergraduate dorms. Each emerging quartet is presented in one formal recital at Campbell Recital Hall, an event that is free and open to the public. Beginning in 2013 the SLSQ and ESQP began presenting Azure Family Concerts, performing music programs for families with children and young adults on the Autism spectrum.
Watch this page for news about the spring 2018 Emerging String Quartet.
Make a gift to support the Emerging String Quartet Program.
Described by one pretty important radio guy as “not classical...but not not classical," invoke continues to successfully dodge even the most valiant attempts at genre classification. The band’s other not-nots encompass traditions from across America, including bluegrass, Appalachian fiddle tunes, jazz, and minimalism. invoke weaves all of these traditions together to create truly unique contemporary repertoire, written by and for the group.
invoke’s 2015 debut release “Souls in the Mud” begins with original works that conjure images of America, including the fast-paced opening track Travesty and The Trace (inspired by bourbon whiskey). The third and title track, Souls in the Mud, is an American transformation of a 16th century motet featuring banjo, mandolin and a bluegrass-influenced boot-stompin’ finale. The EP is rounded out by invoke accompanying a historic recording of a haunting traditional English ballad and two compositions by prolific American composer Danny Clay.
Currently Young Professional String Quartet in Residence at the University of Texas at Austin, invoke has also been selected as Artists in Residence at Strathmore, the Emerging Young Artist Quartet at Interlochen, and the Fellowship String Quartet at Wintergreen Performing Arts. In 2016, the band received First Prize in the Savvy Musician in ACTION Chamber Competition, and was chosen as Finalist in the Concert Artist Guild Competition.
invoke Stanford Recital
Wednesday, 2 May 2018 at 12:30 pm
Campbell Recital Hall
See free events at Stanford on our Outreach page.
Donate to support the ESQP here.
Summary of ESQP Site Visits
"Seeing the immediate impact that the music of Schubert, Beethoven, or even Golijov has on scientists from SLAC or the families at the Azure Concert heightens our understanding of the uniting power of this eternal music. We've come to realize as a result of our experience with the SLSQ and Stanford that we have a passion for reaching audiences beyond those of the concert hall. Sharing our passion for our art form with those who might not otherwise have the chance to experience it, will be an integral part of our mission moving forward."
– The Calidore Quartet
Emerging Quartets 2009-2016
Praised by Strad Magazine for their “high-octane” performance, the Aeolus Quartet (ESQP 2013) is among the finest young string quartets performing today. Violinists Nicholas Tavani and Rachel Shapiro, violist Gregory Luce, and cellist Alan Richardson formed the Aeolus Quartet in 2008 at the Cleveland Institute of Music. Since its inception, the all-American quartet has been awarded prizes at nearly every major competition in the United States and performed across the globe with showings “worthy of a major-league quartet” (Scott Cantrell, Dallas Morning News). Luke Quinton of the Austin-American Statesman writes, “The Aeolus Quartet is a powerful and thoughtful group of young musicians who are plotting an ascending course…this vibrant group shows great promise.” They are currently the Graduate Resident String Quartet at the Juilliard School.
The dynamic Afiara Quartet (ESQP 2013, 2009) has been described as “a revelation” (La Presse), with performances balancing “intensity and commitment” and “frequent moments of tenderness” (Montréal Gazette). The Quartet is the Glenn Gould School Fellowship Quartet-in-Residence at Toronto's Royal Conservatory of Music and is the winner of the Young Canadian Musicians Award, Concert Artist Guild International Competition in New York, and top prizes at the Munich ARD and Banff International String Quartet Competitions, including the latter's Szekely Prize for the best interpretation of Beethoven. As an ensemble for the 21st century, the Afiara seeks to be a string quartet defined by its pursuit of beauty, meaning, and growth as musicians and ambassadors for its genre.
Praised for their “beautiful sound” (Beijing Global Times) the Arneis Quartet (ESQP 2011) is proving to be one of the finest emerging ensembles of its generation. “As a relatively young quartet, they have already achieved something it often takes years to develop: a unique, collective sound which is as warm and full of sparkle as liquid gold.” (Boston Musical Intelligencer) Playfully named after the Arneis grape—a varietal that is difficult to grow, but which yields an exquisite white wine— the Boston-based quartet was hand-picked by the St. Lawrence String Quartet for its inaugural John Lad Prize, which included debuts on the Stanford University Lively Arts series and Music on Main in Vancouver.
Taking their name from St. Cecilia, the patron saint of music, the Cecilia String Quartet (ESQP 2015, 2010) continue to win praise following their 2010 First Prize at the Banff International String Quartet Competition (BISQC). “The balance between expressiveness and interplay was almost dauntingly perfect,” wrote the Berliner Zeitung after a performance in the Konzerthaus Berlin. European tours have taken the four Toronto-based Canadian musicians to the Concertgebouw Kleine Zaal (Amsterdam), Beethoven-Haus (Bonn), Wigmore Hall (London), and venues in Italy and Belgium.
Hailed as "Fresh and youthful sounding” by The Washington Post, the, Excelsa Quartet (ESQP 2014) was recently appointed University of Maryland’s Graduate Fellowship String Quartet for 2013-2016. The Quartet was formed in January of 2009 at the New England Conservatory of Music in Boston, Massachusetts. They were asked to continue their studies with Isabel Charisius and Sebastian Hamann at the Konservatorium Dreilinden in Luzern, where they completed a Masters’ Degree in Chamber Music. The musicians were First Prize winners of "The Provincie Limburg Prijs" along with the “EMCY Artprize” at the Charles Hennen 26th International Chamber Music Competition for Strings in The Netherlands.
The Friction Quartet (ESQP 2015), whose performances have been called “terribly beautiful” (San Francisco Classical Voice), “stunningly passionate” (Calgary Herald) and “chillingly effective” (San Francisco Examiner), exists to expand the string quartet repertoire and audience for adventurous contemporary music. Joshua Kosman (San Francisco Chronicle) declared that Friction Quartet is “an artist who should be discovered” and described their performance as “high-octane music making…a fine blend of rhythmic ferocity and tonal flair.” John Adams shared Friction’s video of the second movement of his first string quartet on Facebook and Twitter and called it “spectacular.”
Praised for their “superb capacity to find the inner heart of everything they play, regardless of era, style or technical demand” (The International Review of Music), the Tesla Quartet (ESQP 2017; John Lad Prize 2017) brings refinement and prowess to both new and established repertoire. Dubbed “technically superb” by The Strad, the Tesla Quartet recently took Second Prize as well as the Haydn Prize and Canadian Commission Prize at the 12th Banff International String Quartet Competition. The quartet has also garnered top prizes at numerous other international competitions, including the Gold Medal at the 2012 Fischoff National Chamber Music Competition, Third Prize and the Best Interpretation of the Commissioned Work at the 6th International Joseph Haydn Chamber Music Competition in Vienna, and Third Prize at the 2012 London International String Quartet Competition. The London Evening Standard called their rendition of the Debussy Quartet “a subtly coloured performance that balanced confidently between intimacy and extraversion.”
Praised for their “emotional investment” and “decisive” interpretations (Toronto Star) and “intense” and “hot-blooded” performances (Globe and Mail), the Tokai Quartet (ESQP 2010) is one of Canada’s leading string quartets. In September 2007, the quartet became prizewinners at the Banff International String Quartet Competition, the first Canadian group to do so since 1992. The vibrancy that this exciting young ensemble brings to their performances is gaining them enthusiastic audiences across Canada, and has earned the Tokai Quartet a growing demand for performances at concert series across the country.
The Emerging String Quartet Program was funded with a generous seed grant from the Hewlett Foundation. The St. Lawrence String Quartet is sponsored by the Stanford Department of Music, the Office of the Vice President for the Arts, and the Friends of Music at Stanford, with special thanks to Peter and Helen Bing, Joan and Philip Leighton, and Persis Drell and James Welch.