The Dudok Quartet Amsterdam is one of the most versatile and appealing string quartets of this time. The quartet’s aim is to share the heart of music through captivating performances and an open approach of the audience.

In June of 2013, the Dudok Quartet Amsterdam has finished their studies at the Dutch String Quartet Academy with highest distinction. In November of 2014 the Dudok Quartet was awarded the Kersjesprize, an award annually given to an ensemble of exceptional talent in the Dutch chamber music scene. The quartet furthermore received top prizes in various international string quartet competitions in Bordeaux (Concours international quatuor à cordes), Weimar (Internationaler Joseph Joachim Kammermusikwettbewerb), The Netherlands (Charles Hennen Competition/Orlando Competition) and Poland (Radom first international string quartet competition)

The members of the quartet first met in the Ricciotti Ensemble, a Dutch street symphony orchestra. The ensemble was founded in 2009. During the first two years since then, the Dudok Quartet Amsterdam studied with the Alban Berg Quartett at the Hochschule für Musik in Cologne. After that, they studied with Marc Danel at the Dutch String Quartet Academy. Further important artistic impulses came from Eberhard Feltz, Peter Cropper (Lindsay Quartet), Luc-Marie Aguera (Quatuor Ysaÿe) and Stefan Metz.

Many well-known contemporary classical composers, such as Kaija Saariaho, Mark-Anthony Turnage, Calliope Tsoupaki and Max Knigge worked with the quartet on their music. In 2014, the Dudok Quartet Amsterdam has signed for several recordings with Resonus Classics, the world’s first solely digital classical music label. Both their first two albums, combining string quartet core repertoire by Haydn and Mozart with both string quartets by György Ligeti and world premieres of the ensembles own arrangements, have been received with unanimous praise in international press reviews including an Editor’s Choice in Gramophone magazine. 2016 saw the premiere of Kaija Saariaho’s opera Only the Sound remains, featuring the Dudok Quartet Amsterdam in a leading role accompanying the world-renowned countertenor Philippe Jaroussky.

The Dudok Quartet Amsterdam  has performed with many renowned guest musicians such as recorder player Erik Bosgraaf, pianists Alexei Lubimov, Hannes Minnaar, Ralph van Raat and Daria van den Bercken, and cellists Pieter Wispelwey, Dmitri Ferschtman and Quirine Viersen. The Dudok Quartet Amsterdam  performed at many prestigious festivals and venues throughout Europe and in the United States of America, such as the Grachten Festival, the Orlando Festival, Festival Quatuors à Bordeaux and Festival Jeunes Talents (France), Carinthischer Sommer and the Vienna Konzerthaus (Austria), Haydn Festival Fertöd (Hungary), Davos Festival (Switzerland), the Linari Classic Festival (Italy) and the Léon Chamber Music Festival and Festival Música en Segura (Spain), Winter Chamber Music Festival (Il, USA)

Willem Marinus Dudok (1884 – 1974) was a famous Dutch architect. He was also a great lover of music: he came from a musical family and composed music in his spare time. “I owe more to composers than I owe to any architect”, he wrote. “I feel deeply the common core of music and architecture: after all, they both derive their value from the right proportions.”

Judith van Driel

As long as I can remember I wanted to play the violin. The first few years I played together with my sisters, later on I played with friends from youth orchestras. As concertmaster of the Ricciotti Ensemble I learned how to lead a group, but above all I experienced how amazing it can be to touch people with your music.

Besides my studies in Amsterdam with Kees Koelmans and Peter Brunt I also spent a year in Vienna to study with Günter Pichler from the Alban Berg Quartet.

As a violinist you can develop yourself in many directions. For several years I have been teaching children aged 6 to 19, from whom I learn just as much from them as they learn from me.

I got the chance to participate in the Academy of the Royal Concertgebouw Orchestra. That was an incredible experience.

Nevertheless I got more and more convinced about the fact that playing in a string quartet was all I ever wanted.

As a string quartet you are independent, you can do whatever you decide. It is wonderful to have fun on stage with the four of us and to make the audience a part of our story.

When I have a solo, I am able to take all the freedom I need, because I know that my colleagues will always be there to support me.

Since September of 2017, I have been performing on the “Douglas Kane-violin”, built by Francesco Goffriller around 1725, on generous loan from the Dutch Musical Instruments Foundation (NMF)

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Marleen Wester

If I was told correctly, I was fascinated by the violin since I was three years old. The idea of sound, produced by something as simple as a bow crossing a string, could reach into your heart was something that fascinated me from that moment on. I never imagined playing in a string quartet as extensively as we do now when I studied the violin in Amsterdam, with Lex Korff de Gidts and Peter Brunt. The conservatory seemed more like a playground to me, in which I wanted to try out all the rides. During my studies I played baroque violin and viola d’amore, but also a lot of contemporary music, which became a real specialization. I always like to be at home in many fields, which also led to me playing music theater performances for children.
Playing chamber music was always a dream, but finding a group which works together greatly is a big difficulty. Telling a story and transmitting a feeling to the audience are things that have always been of great importance to me, whatever formation I played and whatever curious music was on the stand. I take great pleasure in doing so trough the string quartet now, having all of this great and diverse repertoire at our disposal.

Since November of 2017, I have been performing on a violin built by Vicenzo Panormo in 1810, kindly loaned to me by the Dutch Musical Instruments Foundation (NMF)

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Marie-Louise de Jong

Born in Roermond, I started playing the violin at age five, switching to viola completely when I was seventeen. After finishing my studies with Marc Tooten at the Maastricht Conservatory, I went to study in Freiburg for my masters-degree with Wolfram Christ. At this moment I’m studying with him still, for my Konzertexamen. During the last couple of years I played as a principal violist with the National Youth Orchestra and the Gustav Mahler Youth Orchestra. With the latter I saw pretty much every concert hall in Europe during no less than ten amazing tours with great conductors and soloists. From childhood however I was fascinated by chamber music and hence I always played in smaller ensembles. For several years I have been doing so with the Belgian St. George Quintet and can not wait to discover all the wonderful repertoire for string quartet!

Marie-Louise plays on a viola built by Max Möller (1946), kindly made available to her by the Dutch Musical Instruments Foundation (NMF).

David Faber

I received my first cello lessons when I was five years old. My true love of music really started flourishing when I began to play in large orchestras at age twelve. Playing the vivacious late-romantic and twentieth-century repertoire, giving many special concerts and meeting new people on tours made it more and more clear to me that I wanted to become a cellist. The final decision to fully devote myself to music was made because of my experiences with the Ricciotti Ensemble.
I had some catching up to do, because I spent my first years after high school studying law. I mastered the art of playing the cello during six years of study with Floris Mijnders in The Hague and with Dmitri Ferschtman in Amsterdam. After that I was free to fully commit my newly acquired capabilities to the string quartet.
The string quartet keeps pushing your limits as a musician. Being surrounded by three very talented and inspiring fellow musicians, it never occurs to you to not fully engage while playing. Besides that, the full potential of the cello is used in a string quartet. From thorough basses, heavy enough to carry the other three, via close-harmony until a solo played on great heights, the string quartet has brought me all and will continue to do so.

Since October of 2017, I have been performing on an instrument built by  Jean Baptiste Vuillaume in Parijs around 1850, on generous loan by the Dutch Musical Instruments Foundation (NMF).

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