Here’s a nice review of a recent performance of my string quartet, Four on the Floor, at the Napa Valley Chamber Music Festival. One excerpt:
Greenstein’s 12-minute Four on the Floor was a zero-to-60 thrill ride. Violinists Erin Keefe and Daria Adams, violist Jonathan Vinocur, and cellist Michelle Djokic sent the thing motoring off and held on tight through every dip and turn and dynamic shiver. By locking every detail tightly in place, with their steely command of phrasing and pulse, the performers gave off the freewheeling air of inspired improvisers, happily sharing and trading riffs.
Built out of a tiny rhythmic cell, this exciting nonstop work creates a full-blown weather system out of itsBolero-esque repetitions, wind-blown accents, double-stop squalls, tonal migrations, eerie calms, and sun shafts of harmonic convergence. More storm than stormy, it moves by its own inexorable, infectious logic. To a one the players sounded — and looked, beaming even as they focused in on all the piece’s interlocking parts — delighted to be on board.
I also very much enjoyed a new pun on my name, from the end of the review:
The memory that lingered was that juddering, churning, well-oiled engine of Greenstein’s Four on the Floor.