Among the defining string quartets of its generation.
Praised for its “sublime playing” by The New York Times, the Dover Quartet unites extraordinary depth, precision, and power with the “full and glowing sound” admired by BBC Music Magazine, which named it one of the greatest string quartets of the last 100 years.
Formed at the Curtis Institute of Music in 2008, where its members now serve on the faculty, the Quartet carries forward the traditions of the Guarneri, Cleveland, and Vermeer quartets in a voice unmistakably its own. The Dover takes its name from Samuel Barber’s Dover Beach.
In 2025 Joel was named Concertmaster of The Cleveland Orchestra, where he holds the Blossom-Lee Concertmaster Chair, while continuing as the Dover Quartet’s first violinist. A Curtis graduate, he studied with Joseph Silverstein and Pamela Frank and is on the Curtis faculty.
Full bio →A member of the Escher Quartet as well, Bryan has appeared as soloist with orchestras including the Philadelphia Orchestra and took the bronze medal at the 2005 Stulberg International String Competition. A Curtis graduate, he is on the Curtis faculty.
Full bio →Julianne has served as assistant principal second violin of the Boston Symphony Orchestra and principal second of the Atlanta Symphony. A sought-after chamber musician, she has appeared at Marlboro, Santa Fe, and Aspen, and is on the chamber faculty at Curtis.
Full bio →Camden won first prize at Banff and the Fischoff gold medal with the Dover Quartet and maintains an active solo career, admired for his own transcriptions and recordings. A Curtis graduate, he is dedicated to teaching on the Curtis faculty.
Full bio →2026–27 Season
Full schedule →Chamber Music Northwest
Peoples’ Symphony Concerts
National Gallery of Art
Tuesday Evening Concert Series
Recordings
Full discography →Jerod Impichchaachaaha’ Tate’s commissioned Abokkoli’ Taloowa’, his orchestration of Pura Fé’s Rattle Songs, and Dvořák’s “American.”
The first installment of the quartet’s complete Beethoven cycle on Cedille.
The cycle continues, spanning Beethoven’s early and middle quartets.
“Meticulously balanced, technically clean-as-a-whistle and intonationally immaculate.” — The Strad