Quartet-playing as a musical form goes back as far as the late Baroque period. While the different practices of working within a quartet are the result of a long evolution over many decades, many of these practices and traditions compromise the quality of a quartet's output. Modern quartets follow traditional models believing that these cannot be further optimised. The Lipkind Quartet has been looking for new ways to improve and optimise the interpretative process, administrative work-flow, social structure and therefore performance quality of this musical form, leading to the Lipkind Quartet's distinctive, intrinsically scientific and yet individualistic approach to working and performing within a quartet.
These young players, when seated together, have been described as ‘a one-headed, 16-stringed monster with eight hands, four bows and a warm beating heart'. All four members of the Lipkind Quartet come to the ensemble as established musicians; recognised leaders with extensive experience in their respective fields. In their solo careers, each of them has challenged the accepted career trends and pursued a more individual non-traditional path in search of a genuine artistic statement. Yet the main idea behind the Lipkind Quartet's motivation is for four people to conform and follow a clearly designed work structure in order to be able to uncompromisingly produce and create chamber music of the highest order over many years. The rehearsal process is organised and guided by Gavriel Lipkind. As noted by a fellow musician: ‘...the ability of these four dominant players to go deeper into the musical tissue, while fully avoiding social clashes, must be the main reason for a recognisably unique sound, captivating in its clarity of musical thought as well as its instrumental power and flair'.