The Aron Quartet was formed in 1998 by four Viennese musicians: Ludwig Müller, Barna Kobori, Georg Hamann and Christophe Pantillon. They studied with members of the Alban Berg Quartett as well as Ernst Kovacic and Heinrich Schiff. Other great musicians who have played an important role in their artistic development include Isaac Stern, Max Rostal, William Primrose, Mischa Maisky, Ralph Kirshbaum and Sandor Végh.
The official debut in Vienna in the year of their formation was highly acclaimed by both the pubic and the press. Since then they have worked on a wide-ranging repertoire with Heinz Holliger, Heinrich Schiff and with members of the Alban Berg Quartett, Amadeus Quartet and La Salle Quartet.
Concerts with Oleg Maisenberg, Bruno Canino, Philippe Entremont and Sharon Kam as well as with members of the Alban Berg Quartett were occasions for the quartet to widen its repertoire. In 2002 the Alban Berg Quartett invited the Aron Quartet to perform in their own concert series at the Vienna Konzerthaus . The Aron Quartet has appeared throughout Europe, USA and Mexico , as well as in renowned festivals (Vienna Festival, International String Quartet Festival Prag, Biennale di Venezia, Schoenberg Festival, Festival Klangbogen, Festival Cervantino, Kuhmo Festival).
In 2001 the Aron Quartet made its debut in New York (Carnegie Hall) and in 2002 in London (Wigmore Hall) and in Moscow (Tchaikovsky Conservatory). 2004 in Vienna Musikvereinssaal.
The musical intention of the Aron Quartet is to devote itself not only to the classical string quartet literature, but also to the works of the Second Viennese School . For this reason they have been invited to present a subscription series as Quartet in Residence at the Arnold Schoenberg Center in Vienna where they perform quartets of the 18th, 19th and 20th century. In 1999 the first CD of Aron Quartet with works by Schubert, Schoenberg, Mozart und Ullmann was edited. In February 2002 an EBU-concert of the quartet has been broadcasted live throughout Europe .
The CD with string quartets by Franz Schubert (“Rosamunde” and “The Death and the Maiden”) has been released in January 2003 (Preiser Records 90549). The complete recording of the string quartets by Arnold Schoenberg (Preiser Records 90572) in December 2003. To order please see under “ links ”.
“There is a rare and intimate musical communication between the musicians, and this, combined with excellent technique and superb stylistic understanding, makes the ensemble one of the most potent new forces in chamber music today.” - The Palm Beach Post
“… we again heard extremely disciplined quartet playing. The Aron quartet from Vienna plays evenly and beautifully although the individual musicians can be clearly distinguished. The sound is comparatively warm and clear. The same brilliant surface can be distinguished in the standard of performance: everything is faultless and clean.” - MikkoNortela - KUHMO FESTIVAL 2004
“The aron quartet offered us an electrifying interpretation of the quartets op.5 and op. 28.” - Wiener Zeitung - WEBERN Festival Vienna
“Apart from the fine sound material these three compact discs give us an interesting image of an era, an era which lies only one century behind us and which enclosed interesting musical developments. In fact in the view of this Schönberg document one can clearly follow the development from late Romantic to atonality, the development from a recognizable to a more individual style of composing, with the final choice for sound above form. The Aron Quartetplaying of the five Schönberg Quartets and the lose Presto and Scherzo is sublime. The performance of the four Viennese is characterized by a firm, shining tone, a great musicality and a clear commitment, passion and knowledge of this significant music. Each fragment has expression, each note has a soul, the Aron Quartetplays right from the heart and knows how to emphasize the meaning of this music in the most daring and innovative sounds. The most beautiful is the performance of the lyric Quartet no.1 and especially the surprising third movement, named Mässig. Here the quartet reaches an unprecedented height in the sound quality and inspiration, most appropriate for what Schönberg expressed in his own words ‘die Kunst der Notschrei jener ist, die an sich das Schicksal der Menscheit erleben'. A tiny remark concerns the voice of the soprano (number 2); she has too much vibrato on her voice which diverts one's attention and which doesn't harmonize with the sound of the Aron Quartett.” - Marjolein Sengers - Luister June 2004
“The Aron's real triumph is in the last two quartets: Schoenberg may have become a dodecaphonist, but he remained a Romantic, and these are beautifully commanding, insightful performances that ride easily over difficulties, rendering the third and fourth quartets accessible by, and enjoyable to any listener. The recorded sound, although not uniformly well-balanced, is appropriately acerbic, giving these readings an argency akin to the Julliard's. A highly satisfying achievement.” - The Strad
“The excellence of the Aron resides in the utter sense of love and intimate familiarity with which it plays these dauntingly complex works. There's no desperate beat-counting there, no sense of strain, no friction apart from the kaleidoscope of meaningful tensions which Schoenberg composed into the notes themselves. But familiarity has not bred (as sometimes in the Schoenberg Quartet's Chandos recording) a sense of routine or carelessness. Every phrase has beauty and meaning; each line is perfectly balanced, allowing counterpoints that are often obscured to sound beautiful in their turn. When the music goes into Expressionist mode, with spectral tremolandi, harmonics or on-the-bridge sonorities, this seems an utterly natural and expressive enlargement of the palette, not ‘modernistic' sound-tinkering – as the 12-note language of the Third and Fourth Quartets here sounds a natural extension of the First and Second's chromatic tonality. Anna Maria Pammer, the excellent soloist in the Second, is again ideally balanced. The slightly boomy quality of the acoustic is the only blemish on the otherwise triumphant achievement.” - Calum MacDonald - BBC Music Magazine