The Stradivari Trust Edition 2010

        'It's no secret that fine, beautiful instruments are half of the success of any musician.' Anton Ilyunin, second violinist of the Atrium Quartet, describes the group's ongoing search for the instruments that will help them realise their musical vision. He goes into intimate detail on the particular need for instruments of an equally high quality in a string quartet:'Historically the two violins always live together, and we can say the same about the cello and viola. Nevertheless, depending on the score, the violins can imitate the viola sound, or the other way round — sometimes the viola or cello needs to play like the first violin. That's why it is so important to have the best instruments with the fullest range of possible sounds.' The quartet players are delighted to have been taken under wing of the Stradivari Trust, and are currently searching the world for the right instruments to satisfy their musical needs.

The Strad's review after ASQ recital in Wigmore Hall 8 Jul 2009

        At the Wigmore Hall on 8 July, a younger Russian ensemble, the Atrium Quartet, did less justice to Beethoven. The 'Harp' Quartet op.74 started strongly, with good Russian tone, but the leader began the Adagio too emphatically. They settled to some sensitive playing, but again it was the leader who skated over Beethoven's heart-stopping little decorations. The scherzo was very fast, as if being made to fit a preconceived tempo regardless of its effectiveness. The variations were nicely done, however. Ligeti's First Quartet used to be the province of the avant-gardists, so it was good to find it so well planned and executed by a mainstream ensemble. The slow sections were lovely and the more strenuous passages were dispatched with terrific virtuosity. Tchaikovsky's Second Quartet is a problem work and the Atrium approach was to go at it hammer and tongs. Even the charming scherzo had an air of calculation. The Andante brought splendid depth of tone but also more overemphasis. Likewise the finale, although the players rose courageously to the climax and the scurrying coda, earning themselves a Shostakovich encore.