«The long, expressive, and exposed lines of the first movement’s opening, and the ensuing thorny counterpoint and accents that glance off the surface like shards of glass catching the light, reveal a debt to Bartók. This is a terrific performance, keen-edged in the complexities yet unfailingly expressive. The music is not overtly tonal, preferring to hover around pitch areas. The Basel Quartet plays with a gritty determination and enjoys a detailed, focused recording.... The central Andante is where lament and folksong meet. In fact it is a wonderful meeting, especially with playing as sweetly poignant as this (especially from Mathé). The buzzings of the whirlwind Finale verge on the nightmarish. The performance is spot-on in terms of articulation and accuracy...» Colin Clarke, Fanfare Magazine
«Insgesamt: grossartiges Ensemblespiel, Transparenz, klangliche Phantasie in Fülle, durchweg sehr überzeugende Tempi... Ein Resultat, an dem der Komponist seine uneingeschränkte Freude hätte!» Claudio Veress, Sohn von Sándor Veress
«Den vier wunderbaren Interpretinnen ein vierfaches Bravissima! Das ist mit einer Verve ohnegleichen, hinreissend und höchst inspiriert gespielt, und es ist zu hoffen, dass diese bis anhin immer etwas im Schatten der Bartókschen Quartette stehenden Werke nun den ihnen zukommenden Platz in den Konzertprogrammen einnehmen werden.» Hans-Heinz Schneeberger
«The performances from the Basel String Quartet and from the Hungarian Symphony under Jan Schultsz are exceptionally committed... Veress music has not been accorded as many performances as its fastidious craft deserves. Releases like this, one hopes, may help somewhat.» Jonathan Woolfe, MusicWebInternational
«This release is currently the best entry point into Veress’s music.» Richard Whitehouse, International Record Review