When talent is passed on from generation to generation, it often happens in an unpresuming way. Such is the case with Daniel Röhn – one of the most remarkable and talented violinists of the present day. What is so fascinating about him and his playing is his natural approach to great traditions and his clear perspective on them.
Over a number of decades, both his grandfather and father were renowned concertmasters on the universally unique German orchestral scene; now the new generation has joined those ranks as a soloist and chamber musician, who will no doubt contribute significantly to the world of violin. His first two CD releases featuring Mendelssohn’s Violin Concerto and virtuoso 19th-century works for violin and piano earned him several international awards. When describing his playing, it is hardly sufficient to simply mention his seemingly effortless, brilliant virtuosity. Daniel Röhn’s heart-meltingly warm tone and his almost narrative gestures are what endear audiences to him – he has a way of expressing himself through music that we might almost have thought had been lost. (Michael Kube)
As a scholarship-holder in the Anne-Sophie Mutter Foundation and in the Stradivari Society of Chicago, Daniel Röhn delights his audience in both solo programmes and as a chamber musician with a magnetic stage presence, performing to rave reviews for his concerts at Wigmore Hall, Laeiszhalle Hamburg and the Southbank Centre London, with September’s issue of The Strad Magazine praising his performances as “rendered in vivid colours, brilliantly placed and combining striking individual virtuosity with chamber like collegiality.”
After his recent birthday tribute to Fritz Kreisler at Carnegie Hall, highlights of coming months include recitals at the Wigmore Hall London, Konzerthaus Berlin, Laeiszhalle Hamburg and Konzerthuset Stockholm. He will play 7 concerts at Festpiele Mecklenburg-Vorpommern with Vilde Frang and at the Lucerne Festival, Sibelius Concerto performances in Berlin follow, as well as his Kreisler Story disc release with Berlin Classics/EDEL on 12th August 2016.
In a dialogue with the audience Daniel Röhn evokes the golden age of violin playing of the 1920s and 30s in his own programme “The Kreisler Story”, seamlessly blending the art of communication through music with a narrative about the music itself.
As an outstanding talent Röhn was nominated the violinist of 2005 from the Konserthuset Stockholm, winning the “Rising Star” Award which has garnered him invitations from countless outstanding addresses, including repeat invitations from, among others, the Bavarian Radio Symphony Orchestra, the Stuttgart Radio Symphony Orchestra, The Royal Philharmonic Stockholm, Cappella Istropolitana, Georgian Chamber Orchestra, Würtembergisches Kammerorchester, Norrköping Symphony Orchestra, with invitations from conductors such as Ion Marin, Gustavo Dudamel, Riccardo Muti, Lorin Maazel, Esa-Pekka Salonen, Hannu Lintu, Ruben Gazarian, Markus Poschner, and Ariel Zuckermann.
Festival appearances include the Mozartfestpiele in Würzburg, Schleswig-Holstein, Deauville, the Lucerne Festival, the Rheingau Musik Festival, the Festival Mecklenburg-Vorpommern and “Tonsättarfestivalen” of Contemporary Music in Stockholm.
In recital and as soloist Daniel has performed at Carnegie Hall, Wigmore Hall, Berlin Philharmonie, Palais des Beaux Arts Brussels, Southbank Centre London, Culture and Convention Centre Lucerne, Konzerthaus Vienna, Concertgebouw Amsterdam, Philharmonie Cologne, Megaron Athens, Symphony Hall Birmingham, Herkulessaal, Prinzregententheater and Philharmonie Gasteig, Munich, Cité de la Musique Paris, Konserthuset Stockholm, CAMI Hall New York, Festspielhaus Baden-Baden.
His chamber music partners include Julia Fischer, Nils Mönkemeyer, Lisa Batiashvili, Gautier Capuçon, Antoin Tamestit, Arabella Steinbacher, Jörg Widmann, Julian Steckel, Lauma Skride, Ana Chumachenco, Lena Neudauer , Alexander Sitkovetsky, Viviane Hagner, Augustin Hadelich, Ivry Gitlis, Polina Leschenko, Bertrand Chamayou, Sebastian Klinger, Danjulo Ishizaka, Paul Rivinius, Quatuor Ebène and the Belcea Quartett.
Daniel released the Mendelssohn Violin Concerto and a recital disc of virtuoso pieces with Milana Chernyavska under the Claves label. Both recordings received numerous awards including the Diapason d’Or and a Pizzicato Supersonic Award.
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 (Liebesfreud, Schön 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.
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. <"
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."