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Richter Ensemble is a chamber music initiative in which the members share a mutual passion for bold artistic expression. Emphasising flexibility and freedom, the group works mainly as a string quartet, but can expand to a larger chamber orchestra. It is fervent about highlighting hidden connections in music ranging from the 17th to the 21st centuries, demonstrated through its innovative programming. Benefitting from members' vast experiences of performing with leading period ensembles, the Richter Ensemble presents a fresh palette of colours by playing uniquely on gut strings. It seeks to bring spontaneity and new light to every performance and is enthusiastic about collaborating with artists from other fields such as dance and visual media (i.e. projections, installations, art exhibitions, and film). The ensemble has a particular affinity for music from Fin-de-siècle and the Second Viennese School, and strives to reintroduce that music to audiences through a new lens. 

Richter Ensemble gave its first concert with a programme of late Beethoven’s string quartets and music by Biber in Litchfield (UK) in the Fall of 2018. Enthusiastically received, it has since performed widely in the United Kingdom, Europe, Brazil and the United States. The ensemble has appeared at the Spokane Bach Festival (USA), the Kretinga Early Music Festival in Lithuania, served as quartet-in-residence at the Oficina Música de Curitiba (Brazil) and at San Diego’s summer festival Opera NEO (USA), and curates a series of concerts at the Musée Bossuet in Meaux, France.  Richter Ensemble has embarked on a project of recording the complete Second Viennese School string quartets on gut strings.  Their debut album of Schoenberg, Webern, and Berg quartets was released in 2020 to critical acclaim, receiving 5 diapaisons and the Qobuzissime prize on Qobuz. Their second album of Bach’s Art of Fugue and Webern’s complete published string quartets will soon be released.


“It was a musical experience at once fiercely stimulating and deeply relaxing.”


“We could hear clearly the subtleties of every player, and the incredibly imaginative and expressive turn of every phrase of Bach’s inexhaustible invention.”

The Spokesman Review, Spokane WA

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