Meet Gabriela Díaz and Ayane Kozasa, the Two Newest Members of Kronos Quartet

Kronos Quartet: An ensemble that needs little introduction—a group whose mission of future-forward commissioning disrupted tradition and has since spurred generations of boundary-pushing quartets. As Emery Kerekes writes in Chamber Music, “When the quartet played their first concerts in 1973, they broke ground on a model of chamber music that looked to the future rather than the stodgy past—career suicide, said many.” Of course, Kronos’s recipe for experimentation and innovation worked, and after 50 years, the group isn’t slowing down.

An openness to reinvention seems to be the key: While David Harrington continues to steer the group, two new instrumentalists were announced as successors to longtime members John Sherba and Hank Dutt. Meet violinist Gabriela Díaz—concertmaster of Boston Modern Orchestra Project, member of International Contemporary Ensemble, and co-artistic director of Winsor Music—and violist Ayane Kozasa, a former and founding member of Aizuri Quartet, member of quartet Owls, and faculty member of University of Cincinnati College-Conservatory of Music. These outstanding artists will join Harrington and cellist Paul Wiancko when season 51 kicks off this fall.

On the heels of this monumental announcement, CMA spoke with Díaz and Kozasa about their appointments, surprises, and what happens next.

CMA: Congratulations on this major appointment!  Was this something you imagined or dreamed of as a kid?

Díaz: It’s a dream come true, but also it was something I was like, Well that would never happen. Music has been a passion since I was a teenager. Being in a group that focuses so much on the music of our time is an absolute dream. And being asked to audition was a total shock to me.

Kozasa: It never even occurred to me that this could be a possibility. My dream as a kid was to be in a quartet that was as impactful. In my mind, the goal was always, I have to start my own group. Since undergrad, I’ve probably started about five or six groups. Each would last a few years, and, ultimately, people would go in different directions—we were all searching for our career paths. But we learned how to be in an ensemble and how to be in a healthy ensemble. Aizuri was the one that stuck. Committing to a group for 11 years…the lessons from growing together with three other people, musically and personally—wow.

CMA: Aizuri has some real staying power, too. What do you think the secret is to ensembles that last?

Kozasa: Aizuri is an ensemble that is constantly thinking about the next idea, the next collaboration, the next thing they can do to make the world a bit more beautiful. And that’s so similar to Kronos. We just had our first-ever rehearsals as a group last week. And David [Harrington] was explaining the things the ensemble had been working on and then things that we were about to do. It’s fascinating how each project is so relevant to now—and that’s what makes them relatable.

CMA: How does one even join Kronos? What was the audition process like?

Díaz: Paul [Wiancko] asked me if I would be interested in auditioning, and when I said, “Yes, of course,” they sent about 25 pieces that would be part of the audition. There were excerpts from string quartets—classics and some newer 50 for the Future pieces. Then I went to San Francisco to play with the group. I’d met Paul and Ayane over the years but had never met David. There’s a funny story here: Since I was a teenager, I’ve had this thing for frogs. Every day I wear a frog necklace, which was a special gift from my dad. People always make me frog stuff or buy me frog-playing-violin tchotchkes. The day I met David, he was wearing a T-shirt with frogs all over it. It turned out that he is also super into frogs. It felt like such a random sign. I was trying not to freak out, but it also was a way that helped me feel like, “Ok, this is just going to be fun, I can relax.” Right from the outset, playing together just felt great. Everyone was so open and friendly. I felt like it sounded really great, which doesn’t always happen.

Kozasa: When we were all together it was just so easy to play. There’s a force that goes both ways—we all blended very quickly. There was a synergy that was happening naturally. And there’s something about just playing and not talking about it—stuff just kind of clicks. It’s hard to explain in words, as cliché as that sounds, but that’s so important when you’re trying to find people to play in a group.

CMA: What does joining Kronos mean for life now? Is there more job security or flexibility? Do you move to San Francisco?

Díaz: Luckily, we don’t have to move, so I’ll stay in Boston. We’ll meet for rehearsal periods and then tour. Otherwise, I’m not exactly sure what life looks like. There is so much in Boston that is so important to me: I’m concertmaster of BMOC, and I teach at Wellesley College. I’ll remain the co-artistic director of Winsor Music. I’m sure other things will shift. This year will be figuring out how the puzzle fits together. The puzzle will change, but there’s room for a lot of pieces.

Kozasa: I think my life will get more focused and intentional. I’ll continue teaching, for sure. I find a lot of joy in having a place to share what I learn in my performance life. Whatever I glean from my experiences—even administrative things—I’m excited to bring back to my students. I appreciate the balance I have now and love my community of students.

One thing I tell my students is that you’re allowed to change, and the things that matter to you are going to shift and evolve. Maybe it’s the kind of music you play, or the concerts you’re involved in—those are going to change. Allowing yourself to go into those different rooms allows you to change as a person and artist. It also makes space for others to occupy similar spaces. So as my energy focuses into the spheres of Kronos and teaching, I’m excited what younger professionals may be able to do in the places I’ve occupied previously. I’m excited to see them shine.

CMA: What’s in store for the next season that excites you most?

Kozasa: Getting to be part of the activist programming the group is known for. One piece that I really love that Kronos played last season was Gabriella Smith’s Keep Going, which is an environmental piece that focuses on the seriousness of now. I’m so excited to just go through the Kronos library and experience some of the music that I’ve loved for so long but have never played. Like Black Angels. I’ve wanted to play it for so long, and I can’t believe that I’ll get to play it someday—and with Kronos! The people who recorded the CD that I have loved so much. It’s crazy.

Díaz: Travel-wise, we’re going to Brussels and Norway. I’ve never been to Norway, so I’m excited to see what it’s like there. And in Norway, there will be such a cool project with a set of Hardanger fiddles. A maker there has made custom instruments, down to the cello, and it’s going to be so cool. We’ll also be spending some time in Banff. That’s a place that was very formative for me as a student. I did some master classes with an incredible teacher, and I haven’t been there since. It’s an exciting travel schedule.

CMA: Can you share some of the best advice you’ve received or what you’ve learned?

Díaz:  You never know what’s around the corner. One of the critical lessons from my life has been to stay open—open to all kinds of music and open to different musical experiences. Really embrace whatever it is that’s in front of you. Sometimes the freelancing life can feel, at times, like a grind—like you’re just trying to make things work and pack it all into your schedule. Even if you love what you’re doing, in those tough moments, find something that excites you about a project. Go into everything at your top level—prepare as best you can and put your best self into it. You never know what can come from something. It’s not always a career opportunity; maybe you’ll just meet someone who you connect with as a friend. The bonds we form in these super intense musical situations are so strong. It’s a different kind of intensity that only happens when you’re communicating in this nonverbal way. You never know when those relationships will blossom into something new and exciting.

Kozasa: I’ve been using some of Hank Dutt’s old parts and seeing his markings in the scores—they’re so detailed and thoughtful. He really studied them and thought so deeply about how to play each one. It inspires me to put that much care into whatever I do, and to be as present as possible. At the same time, David is always listening. He goes down these rabbit holes for hours and hours, just listening to everything. He buys so many vinyls and CDS of new works that he’s never heard before. I’m learning to be that curious—curious to see what makes me feel joy and what gives me spark. Listening to as much as possible keeps our ears open and removes boundaries or any parameters of what’s possible. Follow the spark.

Kronos Quartet has received numerous Classical Commissioning grants from Chamber Music America and its prestigious Richard J. Bogomolny National Service Award in 2007. Read about the ensemble’s first 50 years in the winter 2024 issue of Chamber Music magazine, and stay up-to-date with the ensemble’s next 50 on their website, kronosquartet.org.