Matthias Enderle, violin
Suzanne Frank, Violin
Wendy Champney, Viola
Stephan Goerner, Cello
The Carmina Quartet was founded in 1984. Their stylistically convincing interpretations, technical perfection and musical intensity earned them recognition as one of the leading contemporary string Quartet. They have been accompanied throughout their development by eminent teachers such as Sandor Végh, Nikolaus Harnoncourt and the La Salle Quartet.
Spectacular early successes at international competitions brought the Carmina Quartet to the attention of the critics and their international press and led to concert appearances throughout the world.
In addition to the ensemble’s diverse concert activities, including regular appearances with eminent musicians such as Olaf Bär, Mitsuko Uchida and Barbara Hendricks, they made a large number of recordings. These have been recognized with awards such as the Gramophone Award, the Diapason d’or and a Grammy nomination in Los Angeles.
The Carmina Quartet has been “quartet in residence” at the Winterthur/Zurich School of Music (MWZ) since 1995.
Schola Romana Lucernensis
Founded in Lucerne in 1971, the Schola Romana Lucernensis is dedicated to the cultivation and performance of Gregorian chant; its regular director is Dominik Rickenbacher. The ensemble works in close collaboration with the choral director of the Abbey of Einsieldeln, Pater Roman Bannwart, who is also teacher at the Lucerne “Musikhochschule” (formerly the Academy for School and Church Music / Lucerne Conservatory). Pater Bannwart has assisted the group since its founding.
The Schola Romana Lucernensis has performed in Zurich, Basel, Rheinau and Wolkenstein (in Grödental), including in concerts with the Carmina Quartet.
They have also performed in concerts with the Lucerne Academy Choir, in conjunction with the Lucerne International Music Festival, for television DRS and at Comprecation Day concerts [Bettagskonzerten] at the Abbey of Einsiedeln.
The Schola Romana Lucernensis has worked closely with the Benedictine monks at the Abbey of Ensiedeln, striving to preserve the tradition of Gregorian chant and to make this music accessible to larger audiences. The members of the ensemble, which for some time has included female voices, view this as a their fascinating and gratifying challenge.