'Impertanent ease, fantasy brilliance and infinite sensitivity'
 Diapason - France

'A sensational player, as technically melifluous as he is interpretiviely beguiling' 
The Strad - London

'Mightiiy impressive. A winning combination of brilliant fiddlestickery and musical understanding'
The Musical Opinion - London

'Terrifyingly brilliant playing as if scalling a sheer cliff!'
 Southbank Centre - London

latest News

MORE INFO: http://berlin-classics-music.com/de/releases/the-kreisler-story/

register as a fan for free
Register as a fan of "DANIEL RÖHN" and get the latest news via E-Mail.
register as a fan
After sending your data you will get an E-Mail where you can accept your subscription.

Short Profile

NameRöhn, Daniel
Born inSweden, Europe
Home LocationBerlin, Germany
Main languageEnglish
Additional languages German,  Swedish 

“Virtuoso pieces for violin and piano”

Recitals of a high quality are few and far between. Certain virtuoso violinists impress with their skill, but disappoint with their style or choice of repertoire. Others seduce with their elegance of tone, but lack panache or engagement. Daniel Röhn's recital excels in every sense.  A  student of Anna Chumachenco and grandson of Erich Röhn – solo violinist with the Berlin Philharmonic under Furtwängler – Daniel Röhn's album is absolutely dazzling from start to finish. With its skilful choice of repertoire, its sparkling virtuosity and an amazing (if slightly dramatic) temperament, he revives the tradition of his greatest forefathers. 

His incisive sonority often recalls that of Heifetz, his irreproachable delivery evokes that of Szeryng, the two great violinists he most admires. His interpretation of the challenging Fantasy in C major by Schubert is one of the greatest moments of the CD: it stands out as one of the most accomplished versions ever recorded. Röhn overcomes the difficulties with impertinent ease and gives the work the true quality of a fantasy: brilliance, capriciousness and infinite sensitivity, whilst the Ukrainian pianist proves to be an eloquent and dynamic partner. 

Sinding's Suite in A minor, Op.10, much loved by Heifetz, is another model of elegance and spontaneity. In the Brahms, Foster and Debussy, Daniel Röhn demonstrates maximum risk-taking and phenomenal control. His rich tones (he plays a beautiful 1617 Amati), powerful bowing and a true sense of theatre all come togther for the grand finale of this firework display: Paganini's Nel cor più non mi sento and Waxman's Carmen Fantasy. Fascinating and ….................memorable. <

(Jean-Michel Molkhou)
LIVE - Cadogan Hall London 
Clare Hammond, piano 
Kreisler Story 
Wieniawski Polonaise - Southbank Centre
Daniel Röhn
Sibelius violin concerto - 1st movement, Allegro moderato
Daniel Röhn - violin
Markus Poschner, conductor 
Sibelius Violin Concerto - 1st Movement
Recorded Live
Munich Sinfionetta 

The young violinist Daniel Röhn came to the Southbank Centre's Purcell Room on April 24th with a string of impressive plaudits from some of Europe's most respected critics, and, splendidly partnered by Irina Botan, he did not disappoint. Indeed, it would be difficult to overpraise this very fine young artist, for he possesses that longed-for but rarely encountered combination of technical excellence and musical depth of perception.

Perhaps we ought not to have been surprised, for he comes from an intensely musical family – but there is no guarantee with musical genes, merely, as in this case, an explanation for the undoubtedly compelling excellence of his artistry.

From the Tartini-Kreisler Variations on a Theme of Corelli it was clear that Röhn phrasing and intonation were immaculate, and if we imagined the early Mendelssohn Sonata was an unusual choice – it is not, when all is said and done, a neglected masterpiece, but Röhn's performance, more than ably partnered, raised the level of this still unfairly regarded work considerably. Indeed, although performances of Mendelssohn's F major Sonata are infrequent, it would be difficult to imagine a better realisation of the work than we heard on this occasion.

Bach's Chaconne of course is on the highest level of musical creation. Suffice it to say that Röhn was more than adequate to its musical and technical demands – this was a masterly account. Strauss's Sonata in E flat is beloved of violinists because it is so well written for the instrument, Daniel Röhn's performance which was, in the circumstances, mightily impressive.

(Bob Matthew-Walker)
Daniel Röhn in Recital at Carnegie Hall
2016-02-06 New York Concert Review, New York City
"Mr. Röhn combined technical wizardry, melting musicality, old-world style and panache, and a fair amount of historic edification in his comments, all woven seamlessly together into an utterly perfect evening.

Daniel Röhn's easy and elegant mastery, always with beauty of sound, purity of intonation, and elasticity of phrase. It was a wonder to behold and reaffirmed the grandeur of the "Golden Age of the Violin" of the 1920's and 1930's

If every performer communicated as well, as part virtuoso and part inspired educator, more concert halls would be packed – and his certainly was.
(Rorianne Schrade)
REVIEW from 2016-02-06  
Sibelius Concerto
Daniel Röhn
The Kreisler Story
2017-02-14 Gramophone, London

Daniel Röhn comes as close as I have heard on any all-Kreisler (...). There is no attempt to emulate the master's idiosyncrasies – the short bow strokes using the middle of the bow, the continuous vibrato, the portamento, the sharply dotted staccato – but the essential charm, rhythmic vitality, sweet tone and parlando phrasing are all there. What's more, the programme mixes the familiar (LiebesfreudSchön Rosmarin) with the less familiar (the two Wieniawski-Kreisler Caprices and the Grave in the Style of WF Bach), as well as boasting a world premiere. (...)
Anyway, for those of us for whom the solo violin can quickly become too much like brown rice and lentils, Kreisler's tasteful additions are a mischievous delight, especially the cat-and-mouse Prelude where the excellent Paul Rivinius comes into his own. It would surely have made Johann Sebastian smile. (...) Röhn is an exceptionally talented violinist well worth hearing.


(Jeremy Nicholas)
REVIEW from 2017-02-14  
Bruch Concerto
LECLAIR SONATA No.3 in D (i,ii)
2016-10-18 Süddeutsche Zeitung,
"Fritz Kreisler war nicht nur einer der maßstabsetzenden Könige der Geigerei, sondern auch ein Komponist von hohen Graden. (...) Wer sie heute spielt, muss immer auch die Distanz zu Kreisler selbst bedenken, um nicht der fatalen Versuchung einer Imitation zu erliegen und damit diese Piecen zu verfehlen. Daniel Röhn, Spross einer berühmten Geigerdynastie, hat verstanden, dass diese Musik im doppelten Sinne des Wortes "vorgetragen" werden muss. Das gelingt Röhn animierend leichtfüßig, geistreich und mit zarter Brillianz."
(Harald Eggebrecht)
REVIEW from 2016-10-18  
2016-11-18 MSO: MICHAL NESTEROWICZ, dir. Daniel Röhn, violin. Malmö Live17/11, Malmö
"Then it doesn't matter that world-violinist Lisa Batiashvili is replaced on short notice by Daniel Röhn. He plays in more or less the same league and delivers Prokofiev's Violin Concerto No.2 with solid technique and tonal luster. He highlights the beauty of the first movement's melody and thereafter delivers the public into a secure state through the neck-breakingly forward flow. I have heard more temperamental interpretations, but at the same time there is relevance in profiling Prokofiev in the style of Mozart: Here there is a freeing independence, a playfulness that recalls to the flashy ties and suits the composer apparently collected!
Witold Lutoslawski's 'Little Suite for Orchestra' is related. Deliberately light but full in content. Solid yet free spirited. Let alone the introduction with the piccolo flute's obstinate notes shadowed by the accoridan-like strings, and a whispering drum roll sharpens the senses, and when then the lid is lifted to the big orchestra sound-block then a grand storytelling already has begun, ambitiously worked through but significantly more unpretentious than the contemporary works of European 1950s modernism. 
This also pervades the performance of Sibelius's 3rd Symphony, Michal Nesterowicz preserves the light, rich details, appropriating the phrasing without loosing the big orchestra sound and dive into the depths. That finally the brass' sound becomes golden coloured rather than of steel is not just because of the acoustic.

It is simply to constitute: Malmö Symphony Orchestra begins to resemble a Nordic character orchestra. A true profile is taking form. 
(Matti Eden)
REVIEW from 2016-11-18