At 40, the Cassatt String Quartet Pays Tribute to a Longtime Collaborator

By Greg Cahill | From the January/February 2026 issue of Strings

On Toward Light: Three Quintets (New Focus), the Cassatt String Quartet celebrates its 40th anniversary with three string quintets by Daniel Strong Godfrey, works that were commissioned and composed nearly 20 years apart. 

The Cassatt lineup on this recording includes violinists Muneko Otani and Jennifer Leshnower on all tracks; violists Sarah Adams, Rosemary Nelis, and Ah Ling Neu; and cellists Gwen Krosnick, Elizabeth Anderson, and Nicole Johnson, who also plays cello II in To Mourn, To Dance. The quartet also is joined by guitarist Eliot Fisk and pianist Ursula Oppens.

The ensemble takes its name from Mary Cassatt, the 19th- and 20th-century painter who was the only American exhibitor in Paris alongside the Impressionists, and who dedicated her life in support of women’s equality and the universal right to vote. 

The recording includes the four-movement Ricordanza-Speranza, written for the quartet’s 20th anniversary in 2006 and which marks a period of reflection (ricordanza) while anticipating better days ahead (speranza). The album’s four-movement title piece, Toward Light, written in 2023, ponders what the ensemble sees as an age mired by fear, exasperation, and dim hope. The album closes with the four-movement To Mourn, To Dance (2013), originally written to feature Vermeer Quartet cellist Marc Johnson and his daughter Nicole, who is also a cellist. The duo had performed together at the premiere of that work, but Marc passed away soon thereafter. Nicole is featured on this album, and the recording of Godfrey’s impassioned To Mourn, To Dance is dedicated to her father’s memory.

In a prepared statement, Godfrey notes, “It’s been a delight to work with the Cassatt String Quartet over nearly four decades. Their supreme ability and versatility bring out the best in my compositions. It’s a pleasure to have these works recorded, two of which were commissioned by the quartet.” 

Otani responds, “We have been so fortunate to have Daniel as our friend and artistic partner since our early days as an ensemble. He really understands us, and the works on this album reflect that.”

Strings asked Otani about the relationship between the Cassatts and Godfrey, the Toward Light recording sessions, and the award-winning ensemble’s longevity in a highly competitive field.

When did you first encounter Godfrey?

I first met Daniel about 35 years ago through our connection with Syracuse University [where the Cassatts conducted master classes]. That meeting marked the beginning of a long and meaningful musical friendship that has continued to inspire our collaborations ever since.

How would you describe that connection?

When we were searching for a work to include on the Cassatt Quartet’s very first album for the CRI label, we listened to many string-quartet recordings. We were immediately drawn to Dan’s piece Intermedio. It’s a short work, but it’s exuberant and full of freshness, giving a real sense of his musical voice. Dan’s music is powerful and deeply emotional, yet he himself is a modest, introspective person. That combination—intense music from someone so understated—resonated with us, and it was clear that his work belonged on our first recording.

What led to the decision to release these particular works during your 40th anniversary celebration?

This project, which we dubbed informally as Godfrey/Cassatt Plus One, actually began in the late 2000s. After completing a recording of Dan’s string quartets, we started discussing the idea of commissioning a set of quintets for a future album. All three of these quintets were written for the Cassatt Quartet. These kinds of projects are increasingly challenging to realize—especially financially—so reaching the finish line truly feels like a miracle. I’m deeply grateful for the generosity of our friends and supporters who made it possible. It feels especially meaningful to release this recording during our 40th anniversary, as it captures both our history and our continued spirit of collaboration and discovery.

How does the album speak to our times?

From the beginning, Dan and I envisioned a full album of quintets, so even though the pieces were composed nearly 20 years apart, they were conceived as part of a shared artistic journey. Each work reflects its own moment in time, yet together they form a remarkably unified musical narrative.

How does that fit in with the Cassatt’s overall mission?

The Cassatt String Quartet’s mission has always been to build bridges between audiences, artists, and composers by commissioning, performing, collaborating, and recording. Looking back over 40 years, we’ve recorded nearly 45 albums—most of them featuring American composers—and premiered more than 800 new works. It’s overwhelming to reflect on that legacy. I truly believe this new release is a vital part of Cassatt’s ongoing mission, continuing our dedication to sharing bold, original voices.

The Cassatt takes its name from an American Impressionist painter. Why is it important to spotlight American contemporary composers, like Godfrey?

Just as Mary Cassatt’s paintings capture the depth of human emotion—our relationships, our vulnerabilities, our everyday beauty—Dan’s music does the same through sound. His work is raw and deeply expressive, yet profoundly beautiful. Supporting composers like Dan feels completely true to who we are as an ensemble: an American string quartet devoted to bringing contemporary voices to life.

Sustaining a professional chamber ensemble for 40 years is no small feat. How does that feel? 

For me, everything about sustaining a quartet has been both a challenge and a gift—booking concerts, planning tours, maintaining our website, navigating member changes, rehearsing, and balancing relationships both within and outside the ensemble, all while managing our own personal needs. Reaching our 40th season feels like a true reward in itself. Highlights such as our Godfrey album, the 40th-anniversary commissions by Laura Kaminsky, Joan Tower, and Victoria Bond, and the celebratory concerts mark not only milestones, but also moments of gratitude. As I look back on nearly 40 years with the Cassatt Quartet—I joined 38 and a half years ago—I feel immense appreciation for every member who has given 120 percent of their energy, passion, and inspiration, including the two dear colleagues who have passed away. These new commissions are, in many ways, a tribute to the ensemble itself. I would like to dedicate them to all the members of the Cassatt Quartet, past and present, who have made this incredible journey possible.

Any words of wisdom for young quartets entering the field?

First, cherish every moment of playing together. The bond within a quartet is unlike anything else in music—it takes patience, trust, and a shared love of discovery. You’ll face challenges—scheduling, finances, even differences in musical opinions—but those very challenges are what deepen your understanding of both the music and one another. Stay curious. Keep learning new works, collaborating with composers, and engaging with your audience. Every rehearsal and performance is a chance to grow—not just as musicians but as human beings. And most importantly, take care of each other. A quartet’s strength comes from mutual respect and kindness. If you nurture that, the music will reflect it, and your ensemble will have the chance to build something truly lasting.