The Quartetto di Cremona plays its Haydn not only impeccably and accurately but

also with absolute dynamic refinement and rich color.

Marcus Stäbler - Fono Forum, May 2011

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"The origins of the Quartetto di Cremona's CD programme interestingly sandwiches Bartok's maverick essay between two of Haydn's greatest quartets"

"Both Op 54 No 2 and Op 77 No 1 are remarkable as much for the profundity of their slow music as for the vitality and harmonic daring of their fast movements and in both Quartetto di Cremona combines keen attack with a wealth of feeling (just sample their breathtaking
pianissimo at 2'51'' into the Adagio of Op 77 No 1). As to their Bartok, the muted Prestissimo second movement is extremely deft and exciting, the finale bold, raw and relentless"

Rob Cowan - Gramophone November 2010

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Much more justice had been done to this pair of composers in a Wigmore coffee concert the day before. The Cremona Quartet offered bella voce Mozart (has last quartet, K590) and mezza voce Brahms (the Piano Quintet, with Cedric Tiberghien an always-sensitive partner).

Full-throated exuberance is standard for the Quintet but the Cremona's tight blend and immaculate voicing made the most of Brahms's symphonic cut and thrust. Dynamic contouring was as sleek and elegant as an Armani suit, and it tailored Mozart to perfection.

The tension between minor and major in the Adagio was all the more exquisite for being unforced. Impeccably Classical phrasing and a consistent sense of tempo allowed Mozart, the richness of his harmony and the quirks of his invention to take centre stage. The very end sounds as if he simply ran out of paper.'

The Strand (Peter Quantrill) - March 2006

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