1807 & Friends
The musicians of 1807 & Friends are drawn from many major musical ensembles
in Philadelphia, including The Philadelphia Orchestra, the Opera Company
Orchestra, Concerto Soloists of Philadelphia, and the Wister Quartet. For
approximately forty years, 1807 Sansom St. was a place where many of those
musicians gathered for the sheer joy of music making. In this setting, informal
chamber music sessions often lasted late into the night and provided an
opportunity for musicians to reaffirm musical values. After many private
sessions, friends urged the musicians to share the 1807 experience with the
public. 1807 & Friends gave its first public performance in 1981 and was
hailed with a standing ovation. Thus encouraged, 1807 & Friends
incorporated as a non-profit organization in August of 1981 and inaugurated its
subscription series, which has earned consistent critical praise. After long
tenures as ensemble-in-residence at the Gershman YM & YWHA and The
University of the Arts, 1807 & Friends has moved to The Academy of Vocal
Arts at 1920 Spruce Street in Philadelphia, where it continues to provide the
community with the opportunity to hear great works of chamber music at the
highest level of performance. Since 1992, 1807 & Friends has been giving
outstanding concerts for children. In 1996, it developed "Sounds of the
Strings", which has become on of the most innovative and sought-after
interactive educational presentations for students in Philadelphia area
schools.
Performers on this CD include The Wister Quartet, consisting of Nancy Bean, violin, Davyd Booth, violin, Pamela Fay, viola, and Lloyd Smith, violoncello, plus Bernard Garfield, bassoon, and Allen Krantz, guitar.
"One of the best Barber quartet recordings I have ever heard. This is some of the warmest, most humane chamber playing I have heard, and the warm sound is truly remarkable--soft, vibrant, and intensely gracious. Most small-label chamber discs that I come across sport bright floodlit acoustics. Not this one. I have not been to Goodhart Hall at Bryn Mawr College, but the engineers have certainly whipped it.
(The result of the playing of the Barber here) is a breathtaking realization that perhaps we have misinterpreted this work for many years--it is not so much furious and violent as pensive and tragically fragile.
All of the works offer enjoyment. The performers are all crackerjack players."--American Record Guide March/April 2000