Four Four Three

FOUR FOUR THREE is our third cd with Channel Classics Records! After our earlier more classical oriented cds ‘Vivere’ and ‘Česko’, for this release we collaborated with two ensembles from different fields: Slagwerk Den Haag with its contemporary sounds and the unusual jazz-trio Kapok.
The cd is dedicated to composer Terry Riley, one of the founders of minimal music, and shows surprising and modern interpretations of ‘In C’ and ‘Sunrise of the Planetary Dream Collector’.

Terry Riley about the cd:
“(…) an imaginative and exciting performance of that piece your group came up with. I really liked the arrangement and the awesome performance.”

You can order by sending an e-mail to or use the contactform (18 euros plus shipping).


Trouw ****
“(…) a performance with a unique atmosphere. Light floating, exotic, transparent, all equipped with a natural rhythmic drive.”

Luister  (10 out of 10)
“So much intelligence and refinement: nowhere the instruments are in each other’s way. Everyone can be who he is. Riley has a soft, thin skin which deserves to be touched with love and tenderness.”

Gramophone (Editor’s Choice award in August)
“The pulse is discreetly shunted towards the background, utterly charming the senses with an often delicate mechanism of light pizzicato strings and mallet percussion…This performance deals up moments of sheer magic.”

Watch ‘the making of’ here:

Performace at tv show Vrije Geluiden:











Our second CD with Channel Classics is Česko! On Česko we go on a musical journey across Europe to the extraordinary land of Bohemia, the homeland of two composers we have come to love so much: Dvořák and Schulhoff. It doesn’t seem to matter that we hardly know their country: the indescribable energy of the music, with its folk melodies and harmonies, revealing the essence of a nation steeped in a deep cultural history, takes us there instantly.

You can order Cesko by sending an e-mail to or use the contactform (17 euros plus shipping).
Or via, iTunes, or Amazon.

Watch ‘the making of’ here:


De Volkskrant *****
‘In their hands, the Czech piece becomes a physical, rhythmic power that comes from deep within the Ragazze. Together they play chords as if their hands and arms are being mastered by on mind.’

Luister (een Luister 10)
‘Dvorak opus 106, a work Ragazze is united with, dead-accurate and intense.’

‘Their biggest strength is an added quota of spontaneity, which keeps you consistently engaged.’
‘..the Ragazze Quartet’s Channel Classics CD is mightily impressive’

The Guardian ***
‘An exhilarating Bohemian double bill’
‘The playing of the wittily named all-female Ragazze Quartet is fresh, light in texture, nimble and just occasionally a little ragged, but always spirited.’ *****
‘Ragazze’s performances of these pieces are brilliantly executed, full of deadpan humour and bring a delightful contrast with the more serious works on this disc.’



Our first cd with Channel Classics is called Vivere!

Haydn – ‘Fifth’ quartet
Schubert – Death and the Maiden
Widmann – Hunting quartet

A cd with 3 pieces about death, played by the Ragazze who are in the midst of life!

Prize: 18 euros plus shipping

Interested? Send an e-mail to or use the contact form.

Or buy it at, or iTunes

voorkant Vivere
Watch the spectaculair music video The Hunt

Press about Vivere

Huffington Post
In Haydn’s op. 76 no. 2 and Schubert’s “Death and the Maiden,” they flirt with life, they play the rests, they play the expressive markings, too, and they find new breadth and breath in themes that are too often rushed or merely stormed through. In the Widmann, they are merely ferocious.

International Record Review
The Ragazze Quartet delivers an abruptly contoured and fittingly acerbic performance of Haydn, abetted by brisk tempos and a keen sense of the work’s structural needs.

The Examiner
Ragazze gives Schubert’s Death and the Maiden an energetic reading, playing up the dark dramatism for all its worth. In Widmann they are determined to destroy any sexist preconceptions of any of their listeners, Ragazze performed this quartet with all of the savage violence the composer intended for it; and, while it would have been nice to encounter it in the context of Widmann’s full cycle, this performance certainly made for an aggressively bold move in concluding a debut recording.

The Grammaphone
…the heritage of string quartet-playing is too authentic in it, and there is too much skill behind the kaleidoscoping of colours from phrase to phrase that loses nothing in its perfection of ensemble in the process.