RECENT PRESS
Sarasota Herald-Tribune
December 3, 2019
by GAYLE WILLIAMS
Juilliard String Quartet inspires in Sarasota concert
Photo credit Lisa-Marie Mazzucco
WFPL Radio
November 23, 2019
by BILL DOOLITTLE
Juilliard String Quartet Back For Its 50th Concert With The Chamber Music Society Of Louisville
Photo credit Lisa-Marie Mazzucco
WCNY Radio
October 3, 2019
by DIANE JONES
"The Juilliard String Quartet is coming back to Syracuse for their 24th appearance with the Syracuse Friends of Chamber Music. Astrid Schween, cellist with the quartet, spoke to mid-day host Diane Jones about the concert, the long history of the Juilliard String Quartet, and the importance of teaching."
Photo credit Lisa-Marie Mazzucco
JSQ Album Release
Still Going Strong: The Juilliard Quartet Plays Beethoven, Davidovsky, & Bartók
Review by: Jed Distler
ClassicsToday.com
Fall 2018
ASK THE PROS – ‘The Transition from Music Student to Working Professional’
December 20 2017
Strings Magazine
Cellist Astrid Schween on Learning from the Legends
By Laurence Vittes
May 30, 2018
"The Juilliard Quartet cellist brings lessons learned from Jacqueline du Pré and Robert Mann to beloved repertoire."
Strings Magazine
Five Minutes with Astrid Schween
A more congenial concert than Boston Chamber Music Society 33rd season opener Sunday would be hard to imagine. Not only did it feature the kind of music for which the term “chamber music” seems to have been invented, but it also had the warm, intimate vibe and sonority of old friends gathering for an exquisite evening.
It hardly needs saying that the musicians of the BCMS are of the highest caliber, but their performance Sunday night was truly outstanding. They played together with ease and musicality, making the works as fresh and compelling as when they were first written.
The concert opened with Haydn’s Piano Trio in C Major, Hob. XV: 21 featuring Harumi Rhodes on violin, Astrid Schween on cello, and Max Levinson on piano. Haydn must have been a delight to have as a friend. His work is almost universally cheerful, and this piece was no exception. One should not mistake a friendly surface for lack of complexity, though, for that was equally present in the singing lullaby that was the 2nd movement, molto andante. Schween’s particularly smooth and elegant legato was shown to good effect in this work.
Elisa Birdseye, The Boston Music Intelligencer
September 22, 2015