Exclusive Interview with Maxwell Quartet

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Do you have any specific methods when it comes to rehearsing?

Not anything particularly rigid, but we do have a consistent approach, especially when working on music by composers like Haydn. We always spend a lot of time going over the score together, making sure we don’t miss any details. Because, for us, the details really are everything.

From there, we focus on creating a collective interpretation of the music. It’s not just about following the composer’s intentions; we try to blend that with our own musical personalities. Our goal is to come up with an interpretation that says something about both us and the composer, something unique that brings the music to life.

When it comes to Scottish traditional music, the process shifts a bit. One of us will typically bring in a tune or melody from our Scottish heritage—something we’re already familiar with. From there, we’ll jam on it, improvise, and see where it takes us. Afterward, we go away, write it down, and turn it into something more structured—like a composition. Then, we bring it back and develop it further, letting it evolve into something that feels natural and rooted in folk tradition.

Regarding this particular recording, how do the folk music selections and Op. 77 relate to each other?

We approach the selection of traditional folk music with great care, aiming to complement the classical pieces we perform. For Op. 77, we focused on both the stylistic elements of the string quartets and their emotional tone.

For example, we begin the album with Captain Campbell’s March, a pipe march that carries both a noble feel and a playful energy. This mirrors the opening of Haydn’s String Quartet Op. 77 No. 1, which itself begins with a march. We wanted to emphasize that connection because marches hold a special place in Scottish traditional music—they often serve as a prelude, establishing a celebratory yet purposeful tone.

Moving forward, we chose a set of eighteenth century tunes by well-known folk musicians, Niel & Nathaniel Gow, and William Marshall. We chose the slow Strathspey, Master Francis Sitwell, because we felt it resonated with the slow movement of Haydn’s Op. 77 No. 1. We even borrowed the main motif from that movement as a bass line, as well as the dotted rhythms that feature prominently. We then included slip-jig, which we felt shared a rustic quality with the Minuet and Trio in Haydn’s quartet. And for the finale, we chose a reel, which we used to echo some of the thematic patterns and passing motifs from the quartet’s finale. In these folk pieces, we intentionally mirror Haydn’s own compositional devices in our arrangements.

The album concludes with Hector the Hero, a beautiful slow lament that we’ve cherished for a long time. It felt like the perfect way to close the album, especially since it echoes the profundity of Haydn’s last quartet, particularly the slow Adagio movement. Moreover, it served as a tribute to our dear mentor, Hatto Beyerle, who passed away last year.

Since we’re on the subject, why did you decide to dedicate this album to Hatto Beyerle? Did he have any advice that you still refer to regularly?

Hatto was a true visionary, and we were incredibly fortunate to study with him. We often recall his teachings, particularly the mantra that to truly understand classical string quartets, like those of Haydn, one must first understand folk music. He was deeply passionate about the language of the time—especially the rhetoric of chamber music in the works of Haydn and even Beethoven.

Many would argue that after a certain period, composers began to blur the lines of rhetoric in their music. But Hatto always believed that we should continue to consider rhetoric, as it forms the foundation of the ancient musical language. His wisdom continues to resonate with us every time we approach a string quartet. It felt only right to dedicate this album to him, as Haydn was one of his greatest passions. We hope this album serves as a fitting tribute to him.

How did you choose the particular folk music selections for this album?

Our aim was for the folk music to complement, not overshadow, the mastery of Haydn’s quartets. We wanted these pieces to act almost as a commentary on the quartets, as if saying, “We understand where you’re coming from. We feel what you felt.” It’s about creating a deeper connection with Haydn’s work through the lens of folk music, which is something we believe both the composers and performers of that time would have understood.

*The pieces in these videos are not from the album mentioned. They are here to demonstrate the quartet’s abilities in both traditional Scottish folk music, and with Haydn’s works.

Why did you decide to round off your Haydn series with these particular quartets? What’s next for you in terms of recording plans?

Although it may seem like an end, we don’t view this as the conclusion of our exploration of Haydn. We actually started with the Opus 70 quartets, which is a bit unconventional, but we felt that the Opus 71, 74, and 77 quartets formed a beautiful trio to bring together at this stage. We’ll definitely return to Opus 76—it’s a complete masterpiece with six quartets, so there’s more to be said there.

In the meantime, we’re expanding our horizons to explore the folk influences on composers beyond Haydn. We’re looking forward to diving into the works of composers like Dvořák, Bartók, and Janáček—figures who, like Haydn, were deeply influenced by the folk music of their homelands. We plan to ask similar questions about how that influence shaped their music.

Do you have a clear division of roles within the quartet?

We each bring different strengths to the table. For example, some of us are particularly good at internalizing or conceptualizing ideas, while others excel at externalizing them or communicating effectively. We play to each other’s strengths, but at the same time, we share responsibilities quite a bit. Though we’re four very different individuals, we function as a cohesive unit, and over the years, we’ve learned how to work together fairly seamlessly.

Have there been any challenges recently, and how have you overcome them?

It’s certainly not the easiest time to be a musician, but we’ve learned that it’s never been an easy path. The challenges we face as classical chamber musicians remain constant, and it’s our shared creative drive that keeps us going. The pandemic, of course, had a huge impact on musicians worldwide, and in more recent years, we’ve all become fathers, which has shifted how we structure our work.

The recording industry itself has also changed significantly. In response, we’ve placed greater focus on building direct connections with communities. We’ve recently launched an initiative in East Lothian, where we live, to engage with the local community. We’re actively working in schools, hosting our own concert series, and focusing on personal, intimate engagements rather than relying solely on promoter-led events.

These initiatives bring us immense joy, and we stay positive because we see how much people appreciate our music. It reminds us that what we’re doing is truly worthwhile.

What’s the dynamic between the members of the quartet? Any special family connections or relationships?

We’ve known each other in various ways for years. George (2nd violin) and I first met at college in Glasgow, and it turns out we share a family connection—we were born in the same hospital in Dundee, just a few months apart. We now live in the same village in Scotland, and our children go to school together, which is a lovely connection.

Colin and George met as teenagers in the National Youth Orchestra of Scotland, so it was special when they got the chance to reconnect in the quartet. Elliot and Colin also met at college when they were studying on music courses. It was a bit of a reunion when they joined the group, with some of us knowing each other already and others not.

Over the years, we’ve become like family. We’ve stayed at each other’s homes, and our families have become intertwined in many ways. We’ve built a deep personal connection that extends beyond the music—at this point, we really are family!