For more information about the Copeland String Quartet, or to book CSQ, please contact us at:

copelandsq4@comcast.net

 

Web address: http://www.copelandstringquartet.com

 

 

 

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From Delaware Arts Info blog:

“It was a delight to see the Copeland String Quartet in their eleventh year – because you can feel that they have invested enough time to coordinate in that magic extra-sensory perception chamber groups get after years of performing together... The beautiful melodic lines were played freely and with great expression by first violinist Eliezer Gutman and the group provided the support and countermelodies as if they were thinking the same thoughts and breathing the same rhythm... We are lucky to have a quartet with such longevity as the Copeland Quartet, like a fine wine, is definitely improving with age.”

 

From Local Arts Live blog:

“The Copeland String Quartet opened their eleventh season at the Church of the Holy City in Wilmington with three unusual compositions – three chamber pieces by composers who were not known for their chamber music – Hugo Wolf, Giacomo Puccini, and Giuseppe Verdi… The eleven years of working together gives the Copeland the magic of phrasing, ritardandi and dynamic changes which seem to be innate rather than planned…the performance was fresh and playful.”

 

From Margaret Darby:

“Delaware has such a jewel in the Copeland Quartet. Eliezer Gutman, violin, Thomas Jackson, violin, Nina Cottman, viola and Mark Ward, cello have reached a high point in their ensemble playing since the quartet was formed in 2003. The group has established a level of communication that allows them to complete lines of very fast scales so that . . . one voice simply melts into the next as if one player were pushing a "now cello, now viola, now violin" button. And, when they played a variation in the Andante movement with pizzicato and forte on the offbeat eighth notes, they were perfectly syncopated . . . Sleeves rolled up, the players provided the tone color Ravel painted in the score with fantastic intonation and listening to the chords they created in each movement. The effect of the double stop pizzicato against the legato notes in the second movement was electric. The audience seemed to lean forward to see how it was done. . .