 Hello. It's such a pleasure and honor to have you here at Quarteto Quiroga, all together, all the four of you at different places. It's fantastic what modern technology can do for us. And we do a little interview about Quarteto music, about you, the Quarteto Quiroga and the Handler Verlag, our connection. And please let me just right away start to ask the first question and you are free to answer whenever, whoever likes to answer. So when, can you remember when was the first time when you, the four of you met and you decided, okay, that sounds nice. Let, let us go forward and let us make music together as a quartet. And then when, when did it come to be, okay, let's do a professional quartet? Yes, it was in 2003. When we performed for the first time. Tiberana and me, we met in the Spanish Youth Orchestra and we were the founders of the quartet. And then a few years later, Elena and Yusef joined. And I think it was a dream of all of us to be part of a string quartet and become this dream, a reality in our lives. Can you remember when you used the four, for the first time a Handler Urtext Edition in your life, I guess it was not when you were already orchestra, musician or even a quartet player. Maybe it was quite earlier when you were young and learned your instrument. Can you remember, I'm just curious to know being the head of Handler Verlag. I can remember the first one. I don't know if it's the first one I used. I don't think it was the first one used. But I remember the first one I bought with my own money. Yeah, that one I with my savings and I bought being 17 years old. I bought Brahms violin sonatas. And I remember perfectly well buying the score going myself buying to the shop and ordering specifically the Handler Edition. I remember that. I actually also remember because in Valencia, when I was a student, it was not very easy to get hold on music. And I remember a trip I made to Vienna and I went to a very, very nice shop, very famous shop there. And I bought the Dregger sweets. Cool. And of course for Viola and the arpeggio sonata, which of course I still use with me and with my students all the time. Yes, I also remember that of course as a student, I used to play before with Handler, but you know, students sometimes with photocopy or a teacher, a student and that's a good. But then of course I remember like getting the first like real one that was mine. It was also Brahms, the first cell sonata. And I remember the segment of the paper of a real nice paper and to do with the pencil, you know, to do a sler and I thought, well, I better, you know, do the right slers and the right fingers because I don't want to erase everything here and there and make it all dirty. I want to keep it all nice in this beautiful paper. Yes, in my case, I remember I was 17 years old and I had to practice Beethoven first sonata. And it was one of the majors works I was studying at that moment. And I told him, Professor, which edition should I buy? And he told me, absolutely for Beethoven, you should go for the Handler and it's the one I have right here, the Beethoven sonatas. Very good professor, I have to say. And Josep, I very much like your answer because both edition you mentioned is my edition, you know, I did the Ape Giorna myself and I did the rigor together with the late Franz Bayer, the violin professor. But now it comes to something maybe very interesting for other string quartet players, especially the young ones. All of you quartet players enjoyed some very, yeah, helpful teaching from other string quartet professional players. So maybe you can tell us about your teachers. I mean, not at the university, the kind of standard teaching but the lessons, but more the master classes you were enjoying. And of course, you remember some connection with Handler? I remember personally that our three main teachers, so to say, which were Reine Schmidt from the Hagen string quartet, Hachto Bayerle from the Albembert quartet, and Walter Lebeden from the Lassard quartet. Those are our musical fathers, so to say, in different ways. I remember they were always very, very careful in pointing out that we should be as critical as possible when choosing the materials that we had. And of course, Handler was always on the desk as a reference that one should check. They also were also very stressing how important were the critical reports that were appearing in the editions. And they were always telling us do not trust editions who do not have a very clear critical report. And that is something that Handler does very, very well. And that is why we trust Handler because the critical report is always very precise. And you know why the decisions have been taken. And this is something that we learned from our teachers who also, of course, encouraged us to go to the primal sources, to the autographs, to the manuscripts. But when it came to editions, they really insisted check editions that do have a proper critical report. And in that sense, Handler has never failed us because we can always trust that there will be a very serious work behind the editorial process. Now Handler claims to publish the complete core repertoire for string quartet. We almost have all of the important works now in our catalog. The last one was the complete edition of Mozart string quartets in four volumes. So I would like to know if you solely miss something in our repertoire. Yes. I mean, there are small things, but talking about the core, the string quartet repertoire, there is one big name that we are waiting with. We're really looking forward because we've seen in the web page that Bartok, six string quartets, are going to be edited soon and in progress with L'Amse de la Sonfaye, which it can be like probably the biggest expert in Bartok. So I think there's going to be something very, very big news for all the string quartet players. Really looking forward to this. Thank you for mentioning this, Helena. Of course, this is one of the big missing things in our catalog, the Bartok, the six-part of quartets. And as you said before, it's on the way to be published. We start this year with number one and number two, and then the other one will follow. And I think that probably is missing, but it's a titanic effort to make it probably come true. It's been a Spanish quartet, of course, the Boquerini's and the Brunetti's string quartets. They are incredible works, really a lot of them, really, really so much, but it would be fantastic to have the Helipa luck producing some of them. No, but it is true that for to have, so to say, also the, at least that the other father, together with Haydn of the string quartet as a genre, because Boquerini, we forget it, but it was very important in building a string quartet historically as a genre to at least have its presence in the catalog of Helipa luck. Of course, I miss also, I would love to have, because your editions are so careful and they are so trustworthy and you can rely on what you do and how you do it. Of course, I would like to have more things from you. I was thinking, when will you make like Yana Czech, for example, or the Russian masters or the Scandinavian masters like Sibelius Grieg, or so I mean, I'm looking forward for the coming years in everything that you have to do, because I'm sure as it has always been, it will be a source which will be very reliable and will help our work and the future generations to have new readings, because with the classics we need to, so every generation has to make their own reading of the classic. That's why a classic is a classic. And I'm missing as a Spanish and a Spanish string quartet something that would not be, as Yusef was saying, Titanic, but we have three little treasures, the Arriaca string quartets that has probably not been very well treated by editors and I think that would be something so interesting that Henle takes care of the sources. They deserve to be on the standard repertoire of any European string quartet. Once the Henle Farlag edition of Arriaca, the three quartets will be out, I'm sure that we should push his music. I think you have a beautiful lead, but a big responsibility in that sense being such probably the most trustworthy edition in nowadays. So I mean, it is something that we encourage you to do because it can change the map of Europe in terms of what string quartet is. So we think now we have the heart of the most played works and now it's time to expand. And I think to expand it in the direction to southwest to Spain makes a lot of sense. Also, we need artists like you to really perform these pieces. It's not only necessary to have a good edition, but you have to have musicians or solvers to play the music and to teach at the university to the next generation and then the repertoire might expand. Let's go to the digital world. As you all know, we have launched a digital version of our text edition, the Handler Library app. What do you think about this type of new digital scores? Will it be a part of the future of you musicians? Well, I think it's already present. I think everybody is basically doing the migration to digital little by little. And once you try it, of course, there is always the feeling of having the actual paper. And that will never be lost. And it's impossible to substitute that. But for like a tool for everyday work, it's really incredible. Everything you can do. But there's one thing that I think is very nice, that these layers of music that you can have, especially when you're performing with your quartet, but you're also teaching four of us were teachers. So it's very practical to have the music that you perform with your own fingers and your things, and another layer for the one you're teaching, because you're telling them things and you see the development in the lessons, what they're doing, what are the problems, and you can make all samples and do everything you can do. And then you have your own music. And also one other feature that I find very good, especially for students, but also for us, is their recording. They have two possibilities to record. You don't have to exit the application, but right there, you just record yourself a little bit and then just listen. I mean, for students, I think it's wonderful. Yeah, it's fantastic. Also another tool that is fantastic for me, is the possibility to really access directly from the app to the critical comments. When there is a doubt in the bar, you just click and then you have the explanation where the hesitation comes from and what was the decision that you made as an editor in terms, you based it on the autograph or you chose first edition. I mean, so that we also have the ability as musicians to make our own choice, you know, and we can immediately have an access directly on the spot. You just click and I think it's a fantastic feature which proves also, again, it gives a feeling of trustworthiness in the material that you have. Another feature that I find so interesting is the famous musicians' fingerings. That's so great for us. I mean, it's so useful. First of all, to know which were the fingerings they were using in the 19th century, which is a tool to understand the way they were performing and that for us is so important to know the taste, the tools, the ornaments they were using and also from the great living players. That's fantastic and so useful for us. And I have actually two things, one that I like very much. So the thing I like very much is not as profound as my colleague said, but I like the drag and drop symbols. The way you can change is so easy, so neat. The way you can, of course, change the color, so you know it's not the original, but it looks very nice like the original. It's not just pencil, but it's very nice to the eye. Yeah, my friends, I can see from your answers that you really work with the Handler app and you have deep insight into the features we present. I'm really much impressed. You really know what you're talking about and there are so many interesting things you said. This was a wonderful talk with you and I'm so grateful. Thank you very much and hope to see you and hear you soon and all the best to you wherever you are. All the best to you as well. Thank you very much. Bye.