Karla Donehew-Perez, violin

Suliman Tekalli, violin

Paul Laraia, viola

Karlos Rodriguez, cello

THE MUSICIANS

Karla Donehew-Perez, Violinborn in Puerto Rico, Karla began playing the violin at age three.  At age twelve, Karla moved with her family to California where she continued her studies with Anne Crowden, director and founder of The Crowden School. Karla completed her Bachelors and Masters degrees at the Cleveland Institute of Music, studying performance with violin teachers Paul Kantor, David Cerone, and William Preucil. She was a member of the WO-MEN String Quartet at CIM, which received several awards and performed for the Kennedy Center and the Cleveland Chamber Music Society. Karla has collaborated in chamber music with Frederica von Stade, Gary Karr, and members of the Guarneri, Juilliard and Takacs Quartets, among others.  She has performed as a soloist with the Berkeley Symphony, Sacramento Philharmonic, San Francisco Chamber Orchestra, Oakland East Bay Symphony, Sphinx Symphony Orchestra, Sphinx Chamber Orchestra and the New World Symphony. She has been guest concertmaster at the Tucson Symphony and spent two years as a fellow at the New World Symphony, often as concertmaster or principal second violin. Karla performs on a violin made in 2013 by renowned German luthier Stefan Peter Grenier, supported in part by a Sphinx MPower Artist Grant, and a fine violin bow by Victor Fetique on generous loan from the Rachel Elizabeth Barton Foundation.

Suliman Tekalli, Violin, is an established, exciting and versatile soloist and chamber musician, lauded for his visceral yet elegant and intelligent performance style.  Suliman performs as soloist with major orchestras throughout North America, Central America, Europe and Asia. Top prize -winner of the 2015 Seoul International Music Competition, he is also a laureate and past winner at the Sendai International Music Competition, Lipizer and Szeryng International Violin Competitions, and the 2004 Blount Young Artist Competition, and received the 2013 CIM Maurice and Judith Kaplow Prize for Uncommon Creativity.  Suliman began studying the violin in Florida with Russian pedagogue Lev Gurevich at the age of three.  His early performing career included appearances on NPR’s From the Top at age 11 and his formal debut with the Orlando Philharmonic at the age of 16. As a chamber musician, Suliman has performed at Yellow Barn Festival, Banff Chamber Music Festival, and Sarasota along with Cho-Liang Lin, David Shifrin, Paul Watkins of the Emerson Quartet, Donald Weilerstein, Bonnie Hampton, Barry Shiffman, and members of the Tokyo String Quartet.  He performs regularly worldwide with the International Sejong Soloists, as well as his sibling pianist Jamila Tekalli in the United States and Central America. Suliman Tekalli studied with Joel Smirnoff at the Cleveland Institute of Music, Hyo Kang at Juilliard and Yale, and Sergiu Schwartz at the Schwob School of Music. He joins the Catalyst Quartet in 2016.

 Paul Laraia, Viola, is regarded for his extraordinary grasp of phrasing, character and color.  He has performed across the United States, Canada and in Korea, and has been featured on Detroit Public Television and National Public Radio. The New Jersey native first studied viola with Brynina Socolofsky, disciple of viola pedagogue Leonard Mogill. He continued studies on scholarship through Temple University’s Center for Talented Youth and the Settlement Music School in Philadelphia, and entered the New England Conservatory of Music on full scholarship in 2007 to study with Kim Kashkashian. From 2007-2009 Paul was a member of the Bela String Quartet, silver medalists in the 2007 Fischoff National Chamber Music Competition.  Paul performed the Bartok and the Walton Viola Concertos with the Sphinx Symphony Orchestra at Detroit’s Orchestra Hall as a winner of the 2010 and 2011 Sphinx Competitions. Praised for his “long lines” and “caramelly yet airy” tone, Paul has since made solo debuts with the Pittsburgh, Atlanta and Nashville Symphony Orchestras and has appeared in recital at the 40th International Viola Congress. Paul recently recorded his debut album of Bach, Reger, Hindemith and Henze for the White Pine label.  Like all members of the Catalyst Quartet, Paul believes it is crucial to bring classical music to new audiences and actively engages in outreach performance. The Bela Quartet brought music to inner city schools, hospitals and nursing homes, and Paul has offered free master classes to youth music programs.

Karlos Rodriguez, Cello, made his orchestral debut to great acclaim at the age of thirteen, and has since been an avid soloist, recitalist and chamber musician. The winner of several competitions and prizes, including the State cello prize (FL), the Irene Muir performance prize, the Richard Lowelberg cello award and a William Randolph Hearst scholarship. Karlos has appeared at important New York musical venues including Carnegie Hall (Isaac Stern Auditorium), Merkin Concert Hall, Lincoln Center (Avery Fisher Hall, Alice Tully Hall), and Radio City Music Hall, and at Philadelphia’s Kimmel Center. Karlos has worked with many distinguished artists including the Beaux Arts Trio, the American, Cavani, Cleveland, Emerson, Guarneri, Juilliard, Miami, Orion, Tokyo and Vermeer String Quartets, and with the cellists Janos Starker, Lynn Harrell and Steven Isserlis. His teachers have included Richard Aaron, Peter Wiley and David Soyer. Karlos’s love of modern dance paired with live music has led to collaborations with the Thomas/Ortiz Dance Company, Freefall, the Mark Morris Dance Group, and dancer Chita Rivera. He attended and was a guest artist at the ENCORE School for Strings, the Sarasota, Aspen, and Kneisel Hall Chamber Music Festivals, and the Cleveland and Philadelphia Orchestra Chamber Music Societies. Karlos has worked on various Broadway musicals and pop albums, most recently with Shakira and Marc Anthony.  Of Cuban descent, he teaches on the faculty at Summertrios and the Sphinx Performance Academy, and is the former Principal Cellist of the Florida Grand Opera Orchestra in Miami.

                                                                 

The Catalyst Quartet was hailed by the New York Times at their Carnegie Hall debut as “invariably energetic and finely burnished…playing with earthy vigor.” 

Hailed by the New York Times at their Carnegie Hall debut as “invariably energetic and finely burnished…playing with earthy vigor,” Catalyst Quartet is comprised of top Laureates and alumni of the internationally acclaimed Sphinx Competition with the 2015 winner of the Seoul International Music Competition. Known for “rhythmic energy, polyphonic clarity and tight ensemble-playing,” the ensemble has toured throughout the United States and abroad, including sold-out performances at the Kennedy Center in Washington DC, at Chicago’s Harris Theater, Miami’s New World Center and Stern Auditorium at Carnegie Hall.

The Catalyst Quartet has held concert residencies at the University of Michigan, University of Washington, Rice University, Houston’s Society for the Performing Arts, Cincinnati College-Conservatory of Music and Pennsylvania State University. International residencies where they perform and teach master classes have included the In Harmony Project in England, the University of South Africa, and the Teatro de Bellas Arts in Cali, Colombia.

The Catalyst Quartet has been invited as guest artists at important music festivals, Mainly Mozart in San Diego, the Great Lakes Chamber Music Festival, Sitka Music Festival, Juneau Jazz and Classics, Strings Music Festival and the Grand Canyon Music Festival. In 2014 they opened the Festival del Sole in Napa with Joshua Bell and also participated in England’s Aldeburgh Music Foundation’s String Quartet Residency with two performances in Jubilee Hall.  Recent seasons have brought international touring in Mexico and Colombia, and expanded U.S. tours in Virginia, Minnesota, Hawaii and California. Catalyst’s New York City presence has included concerts on the café series at the Metropolitan Museum of Art, at Columbia University’s Miller Theatre, for Schneider Concerts at the The New School. and in February 2016, six concerts with Grammy Award-winning jazz vocalist Cécile McLorin Salvant at Jazz at Lincoln Center.

The Bach / Gould Project - Catalyst Quartet’s debut recording featuring the members’ own arrangement of J.S. Bach’s monumental Goldberg Variations paired with Glenn Gould’s seminal String Quartet - was released in April 2015 on the Azica label.  CQ is also featured on the release Strum, string works by composer/violinist Jessie Montgomery, a former member of the quartet. CQ has performed on numerous TV and radio broadcasts for Detroit Public Television, American Public Media’s Performance Today, and for local stations in Chicago, Houston, Seattle and Vermont. The ensemble was also featured in The Strad and Strings Magazine.

Founded by the Sphinx Organization, the Catalyst Quartet combines a serious commitment to diversity and education with a passion for contemporary works. In October 2015 the members completed their fifth national tour as principal players and featured ensemble with the Sphinx Virtuosi. Catalyst Quartet serve as principal faculty at the Sphinx Performance Academy at Oberlin College and Roosevelt University.

The Catalyst Quartet proudly endorses Pirastro strings

Additional information with links to audio and video performances can be found on their homepage: www.catalystquartet.com                             

CATALYST QUARTET & THE PRESS

Catalyst Quartet Gets Down and Dirty at Kohl Mansion
“Catalyst Quartet members passed for country fiddlers and even a Brazilian samba band in a recital of folk-based string quartet works.  The most compelling pieces were contemporary takes on non-Western folk traditions.  Stirred by his encounters with violence during a trip to Israel, Argentine composer Osvaldo Golijov drew on Middle Eastern musical traditions for Tenebrae. In one particularly chilling passage, violist Paul Laraia emulated a traditional lament, while first violinist Karla Donehew-Perez provided an echo effect at the end of each phrase, playing an obsessive melodic figure as she shifted her bowing from the bridge upward toward the fingerboard.  The resulting, eerie tone color sounded like it had been produced in an electronic studio rather than by an acoustic violin.”  SF Classical Voice – November 18, 2015

“The Catalyst Quartet offered a dynamic performance of Joan Tower’s lyrical, melancholic ‘In Memory,’ inspired by events of Sept. 11, 2011.”   New York Times – October 16, 2015  

Modlin Center season in Richmond VA:
“The Catalyst takes a rather old-school approach to its music-making, phrasing without excessive edginess, producing a generally mellow sonority with a big, rich bass, reminiscent of great quartets of the past such as the Guarneri and Budapest. Bartók Quartet No. 3 is a showcase of spiky harmonic language that characterizes the master’s mature music. The performance didn’t underplay those qualities – cellist Rodriguez slid quite effectively, and violinist Donehew-Perez produced rarified, spider-webby figures faultlessly. The ensemble gave a comparably romantic sheen to Beethoven. String tone was robust and rounded with no shortage of vibrato, tempos were moderately paced, in the finale a hint of Haydnesque effervescence and volatility. The group’s sound and the music’s style were best reconciled in Brahms, a songful outpouring of high-romantic tone and phrasing that the four musicians audibly relished. The first violin paced a sweetly lyrical andante, and the closing movement’s set of variations found the ensemble in its most plushly sonorous collective voice.” Richmond Times-Dispatch - Sept. 9, 2015

Northwest Bach Festival in Spokane WA:
“The Catalyst Quartet playing was a continual source of pleasure. Careful to keep within the bounds of string playing appropriate to 18th-century music, they nonetheless succeeded in revealing the wealth of wit and pathos that lies in nearly every measure of Bach’s great work. All four players employed light pressure on the string and used vibrato as Bach would have expected: as an occasional ornament, rather than a constant means of tone production. The result was a sweet, airy sound, capable of many shades of expression. In the Gould String Quartet, the group’s sound darkened considerably, in keeping with the stylistic language of the work. Early in his career, Gould was deeply involved in the music of the Second Viennese School of composers.. These are the influences most noticeable in his String Quartet, and account for its dominant tone of brooding, super-heated emotion. Catalyst responded by digging into their strings more deeply and producing tone colors that would have been out of place in the Bach.”  Spokesman Review – March 4, 2015

“The Catalyst Quartet was excellent in Marcus Goddard’s atmospheric ‘Allaqi’ for string quartet.” New York Times – October 30, 2014

“The piece which stood out was Goddard’s Allaqi, performed by the Catalyst Quartet.       I was moved and enthralled by the quartet’s performance, seeing the notes lifted high   into the room, painting this grand picture.” Splash Magazine - October 30, 2014

 “The Haydn war horse (Quartet in G Major, op. 76/1) got a fresh take from these youngsters. Their energy shone in the perfect ensemble unity.  An unequaled class of execution continued through the entire Brahms Quartet, op. 51/1.  The concluding movement was nothing short of fantastic.  A cheering, standing house echoed their appreciation.”                                                        Lincoln (NE) Journal Star - April 12, 2014                                                                                                                                            

 “Catalyst Quartet played up a storm last night for Chamber Music Monterey Bay. What a way to begin a concert! Strum, written by violinist Jessie Montgomery, developed an infectious energy as it mixed rhythmic vitality with passionate lyricism. It was a piece you didn’t want to end. Tenebrae, by Golijov, has a spiritual kinship to the Adagio later in the program. Especially impressive was the gorgeous playing by cellist Rodriguez against the ostinato provided by the other players. We heard beautiful and effective playing from all the Catalyst players. The concert ended with the remarkable Brahms String Quartet No. 1 in C Minor. The energy and drama, plus its supremely effective writing for the instruments, was totally absorbing. We loved it.” Peninsula Reviews - March 15, 2014

New York Concert Review - April 14, 2013
First we heard ‘Strum,’ by the quartet’s violinist, Jesse Montgomery: a great opener.  The performers’ rhythmic energy, polyphonic clarity and tight ensemble–playing were to continue throughout the evening. Golijov’s ‘Tenebrae’ gave us a beautifully wrought, lucid and committed performance of this most moving composition. Each player shone, both as collaborators in a like-thinking ensemble and as lyric “soloists.” I was very impressed by the many string colors the quartet created. In fact, I was very impressed by every aspect of the quartet’s playing. But I was awed by their performance of Ginastera’s fiendishly difficult String Quartet No.2! This work makes incredible technical demands, and the Catalyst players were up to all of them. One marveled at their perfect sense of ensemble during the unison passages and complex rhythms of the first movement. The mysterious sounds were flawlessly produced. The concert was brought to a thrilling conclusion by the wild final movement, aptly marked furioso. We were treated to a delightful encore, the quartet’s arrangement of ‘El Coqui’. The Musica da Camera audience left smiling.                      

 

The Washington Post - October 11, 2012

Catalyst Quartet took the stage for Osvaldo Golijov’s “Tenebrae.” It’s a meditative work whose floating mists and cosmic ambiguities can, in the wrong hands, seem like music to do yoga by, but the Catalyst players turned in a serious, convincing account.  The tone shifted from dark to light when the quartet launched into “Strum,” a hugely enjoyable new work by Sphinx violinist Jessie Montgomery. Turbulent, wildly colorful and exploding with life, “Strum” sounded like a handful of American folk melodies tossed into a strong wind, cascading and tumbling joyfully around one another. Montgomery also wrote the evening’s encore, “Star-burst”; at 30, she’s an inventive and appealing composer with interesting things ahead of her.                                                       

 

The New York Times - October 10, 2012

...the first movement of Osvaldo Golijov’s “Tenebrae” was given an introspective reading by the

Catalyst Quartet.  Ms. Montgomery switched violins for the performance of her lively “Strum,” which featured insistent plucked rhythms and elegiac melodies. She also composed the encore, “Star-burst.         

 

Oberlin Review – October 8, 2012            

Some complain that classical music was written by dead white guys, is performed by white musicians and listened to by white senior citizens. Luckily, there are groups like the Sphinx Virtuosi and the Catalyst Quartet to combat this trend. Both ensembles serve not only to foster performer diversity but also to promote works by non-white composers. Jessie Montgomery’s ‘Strum’ quickly brought back the fun energy. Montgomery, only 30 years old, not only composes but also performs as part of the Catalyst Quartet and Sphinx Virtuosi. Under her sure guidance, melodies emerged from between the cracks of tightly nested repeating cells and snaked in and out of the pulsing framework, occasionally taking wayward dips before retreating to allow a new theme to materialize.                                        

 

Detroit Free Press - June 20, 2012

The Great Lakes Chamber Music Festival draws a tight frame around a resident composer.

Some of America's most celebrated have held the title. This year's composer, Joel Hoffman, feted with a concert of his works, featured compelling music, polished craftsmanship and percolating ideas that deserve wider circulation. Played energetically by the Catalyst Quartet, the String Quartet No. 4 (2011) packed a lot into three short, tightly argued movements. The music soared in the sweetly nostalgic finale.                                                                                                      

 Chicago Classical Music - October 5, 2011In a program of overflowing energy, the Catalyst Quartet—another branch of the Sphinx Organization—performed movements from the second quartets of Michael Nyman and Alberto Ginastera, each with relentless rhythmic force.   Classical Voice of North Carolina - October 7, 2011Four of the Sphinx Virtuosi’s principal players comprise the Catalyst Quartet, which performed two numbers. Michael Nyman’s String Quartet No. 2 (1988) combines elements of minimalism with a rock aesthetic in a virtuoso setting. The finale Furioso movement, from Argentinean Alberto Ginastera’s String Quartet No. 2, Op. 26 (1958), certainly shows Bartók's influence, but through a South American prism. This music is ‘in your face’ seething, frantic and fabulous fun.

 

Alan Kozinn, The New York Times - October 6, 2010

Invariably energetic and finely burnished…The Catalyst Quartet played the Allegro Rustico movement from Ginastera’s Quartet No. 2 with an earthy vigor that made you wonder why whoever assembles Sphinx’s programs did not have them offer the complete work.

                                                                                                    
San Francisco Classical Voice – October 19, 2011                                                                                

The String Quartet No. 2, Op. 26 by Alberto Ginastera dominated the Stanford University proceedings, played by the Catalyst Quartet, first-chair players of the Sphinx Virtuosi. Scheduled to play just Ginastera's finale, in a spirit of enthusiasm they presented the whole quartet, all five movements. There was no question of the violins resting on the lower strings' laurels, with the violins giving off tight energy and sure-handedness. Through Ginastera's perpetual motion opening movement and finale, his ghostly scherzo full of special sound effects, and the two cautious, softly dissonant slow movements, the resemblance to a really good performance of a Bartók quartet was unmistakable.