> ## Content Index
> Fetch the complete content index at: https://oberons-vale.ghost.io/llms.txt
> Use this file to discover other available public pages before exploring further.

# Takács Quartet/Jeremy Denk @ Zankel Hall
- URL: https://oberons-vale.ghost.io/takacs-quartet-jeremy-denk-zankel-hall/
- Published: 2026-10-17T14:12:02.000Z
- Updated: 2026-10-17T14:16:14.000Z
- Author: Oberon

![](https://storage.ghost.io/c/d4/f9/d4f9c027-5a59-47b4-a6ef-cadbd0b728ad/content/images/2026/10/Takacs-Quartet-photo-Amanda-Tipton-jpg-final.jpg)

Above, the artists of the Takács Quartet: Edward Dusinberre, Mihai Marica, HarumiRhodes, and Richard O'Neill; photo by Amanda Tipton.

Friday October 16th, 2026 - The celebrated **Takács Quartet** were joined by pianist Jeremy Denk for a marvelous evening of music-making at Zankel Hall tonight. This was my first opportunity to hear the Takács since cellist Mihai Marica joined the ensemble; I have so enjoyed Mihai's playing on several evenings at Chamber Music Society of Lincoln Center over the years. Mihai and the quartet's much-admired violinists Edward Dusinberre and Harumi Rhodes, and violist *de luxe* Richard O'Neill, took the Zankel stage to a warm welcome from a packed hall. The program looked enticing: masterworks by Mendelssohn and Franck book-ending Carlos Simon’s *Warmth from Other Suns (*composed in 2020, and having its Carnegie premiere tonight.)

The *String Quartet in F-Minor,* Op. 80, of Mendelssohn opened the evening. The piece commences in a sneaky, bustling mode. The depth of tone Mr. Marica summons from his cello was the basis of the music throughout the evening. Chills, and a wonderful feeling of hushed excitement filled the air. Cello and viola introduce stabbing accents. Marvelous subtleties are woven into the sonic tapestry. The music speeds up, and then comes a unison passage.

The oddly familiar *Allegro assai* veers from lyrical to driven. A deep cello theme is soon over-laid by the other voices...and then, sense of hush ensues. The cello rhythm oddly evokes memories of the old nursery song "*See Saw Margery Daw*", which I used to sing to my nephew, Steven, when he was a babe-in-arms. Then the music simply vanished into thin air.

The Marica cello opens the *Adagio*, joined by Mr. Dusinberre intoning a poignant violin passage. Such grace and poetry in the playing of all four artists creates an atmosphere that draws us away from the cares of the world. The music turns dramatic; here - and indeed throughout the entire evening - the players' extraordinary minding of the details was so pleasing to the ear.

The concluding *Allegro molto* mixes familiar passages of melody with rumbling rhythmic figurations underscoring the flashing melodic lines. As the movement unfolded, the musicians were as engaging to watch as to hear; the physicality of Mr. O'Neill's presence spoke of a musician deeply involved in the music. The players seemed to draw inspiration from one another, creating a vividly *alive* atmosphere that filled the hall. 

Ms. Rhodes introduced the Carlos Simon work: *Warmth from Other Suns*. This three-movement work was described in the program notes as "...a terrifying expression of the duality of wanting to rest, yet never being able to call a place home." The work was inspired by the Puitzer Prize-winning book of the same name by Isabel Wilkerson.

The first movement, *Rays of Light*, opens with high-pitched whisperings and a wistful cello solo. The music flows dreamily by us, with Mr. Marica's soul-reaching cello evoking thoughts of hope, but also of uncertainty. *Flight,* the second movement, begins with swirling musical motifs and a feeling of action built on moving parts. Soaring violins give way to anxiousness, and then to urgency. Phrases are passed from player to player, with hints of the blues cunningly etched in.

Mr. Dusinberre and Ms. Rhodes spin violin softness over pensive phrases for viola and cello in the final movement, *Settle*. The music gets sleepy: perhaps it is now safe to dream. 

![](https://storage.ghost.io/c/d4/f9/d4f9c027-5a59-47b4-a6ef-cadbd0b728ad/content/images/2026/10/jeremy-denk-final.jpg)

Above: pianist Jeremy Denk 

Following the interval, a sleek Steinway was rolled out, and Mr. Denk joined the ensemble for one of my favorite chamber works: César Franck's *Piano Quintet*. The quintet was composed in the winter of 1878-1879, a time during which it was thought that the composer was infatuated with one of his students...much to his wife's disgust.

The players had barely gotten started when a super-loud voice from a walkie-talkie shattered the mood, bringing the music to a halt. Mr. Denk called out for a re-start, and he quickly entranced the crowd with a gorgeous piano solo, into which slight hesitations crept. A dramatic viola theme found Mr. O'Neill at his most passionate, and then the piano bursts forth afresh. A theme is passed from viola to Ms. Rhodes, and on to Mr. Marica, whilst Mr. Dusinberre's violin floats overall. The music builds to a glorious outpouring: entrancing! The mood swings between provocative and dreamy, the piano at once both lyrical and insistent, with slashing remarks from the strings.

Now comes the magical *Lento*, intriguingly marked "*con molto sentimen*t". The delicate artistry of Mr. Denk, with an over-lay of poignant playing from Mr. Dusinberre, was extremely moving. The music broadens, and I am loving every second of being lost in the sheer beauty of it. There are hushed hesitations, with viola and cello savoring each poetic phrase. The music becomes soft and serene, and I feel I am floating somewhere in the vicinity of the Andromeda Nebula, far from the current darkness of life on Earth. 

Ms. Rhodes opens the final *Allegro*; unison strings join, and active piano passages highlight Mr. Denk's deft technique. The music sways briefly before spinning into a super-soft and mystical blend from Mssrs. Dusinberre and Denk. Then the quintet sails on to an epic finish. If the end of days is in fact at hand, this music is a perfect sendoff.

But - responding to a spirited standing ovation - Mr. Dusinberre, with a charming sense of irony, said that the musicians felt they "...should play something with intensity!" to end the evening. A Dvořák *scherzo,* light and prancing, was the perfect choice. Leaving our doubts and fears for the future behind, we enjoyed a waltzy cello theme from Mr. Marica, and more super playing from Mr. Denk.

\~ *Oberon*