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With warmth and dash aplenty, this young quartet really has the measure of these remarkable works: rhythms are deftly pointed, yet the sheer beauty of Tippett’s writing is never sacrificed. If Bartók and Beethoven are the models for the first three quartets, much compositional water had flown before he returned to the genre 30 years later for the last two, thornier works but no less personal, no less rewarding.

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