Christophe Horák, violin
Micha Afkham, viola
Bruno Delepelaire, cello
Kim Barbier, piano

Berlin Piano Quartet – rising soloists, chamber musicians and members of the Berlin Philharmonic Orchestra – share the same passion for rarely performed repertoire for piano quartet. Aside from performing the well-known piano quartets of Mozart, Brahms and Schumann, the Berlin Piano Quartet presents lesser known works by composers such as Martinů and Bridge. Through their work with the Berlin Philharmonic Orchestra, these four musicians are constantly collaborating with the great musicians, conductors and composers of our time. 
The wealth of experience they have accumulated performing vast amounts of symphonic and operatic repertoire have influenced their chamber music making in a way that is unique to their quartet. Since the Berlin Piano Quartet’s debut performance at the Berlin Philharmonie in December 2014, their touring includes festivals such as the Gstaad Menuhin Festival and the Baden-Baden Easter Festival.

"The musicians of Berlin Piano Quartet need less than three seconds to achieve their maximum impact in terms of the level of sound that they are capable of producing. They are playing the opening movement of Gabriel Fauré’s Piano Quartet in C minor, the Allegro molto moderato of which is transformed into an unstoppable flood of sound that fills the entire concert hall even during the first minute of the piece. The pianist is playing against the background of a large orchestra – or so, at least, it seems.
And yet the impression is a deceptive one, for there is no orchestra onstage, but only a quartet. Kim Barbier is performing with three altogether remarkable string players from the Berlin Philharmonic, and it is their unconventional playing that is the reason why we feel that an entire orchestra is performing here. One already suspects what the players are about to confirm in conversation: here are four performers who as out-and-out individualists, each with an unmistakable claim to be taken seriously as a soloist, are all determined to make themselves heard because they know of no alternative. At the start of Fauré’s first piano quartet, it is the pianist’s turn to assume this role".
© Inge Kloepfer


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