His excellent command of the instrument is put at the service of a fine sensibility and a quite personal voice. In addition, he plays with a certain rhythmic freedom and an individual style I find very refreshing. He is definitely a musician to be heard"
I wanted a true virtuoso, someone who knows how to express all the nuances, who intuitively understands all the dynamics, and who can deliver a bravura performance."
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. <"
Joo is passionate about teaching and has developed a unique style of workshop designed for young musicians encouraging them to think and perform "Beyond the Practice Room".
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."
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.
Hyung-ki Joo is the perfect chamber-music pianist, one who is perfectly balanced with his colleagues and who has an imaginative response to the music he plays without drawing attention to himself."
Hyung-ki Joo, Klavier, Schauspiel
Yu Horiuchi, Klavier, Schauspiel
Johanna von der Deken, Gesang, Schauspiel
Schumann Quartett, Streichquartett, Schauspiel
"As an ensemble "they are a whiff of fresh air", combining their outstanding, individual talents with their family ties. They have become successful in performing in a variety of genres in their unique "Janoska style", which is creating a new hybrid genre"
Joo brought a freshness of approach…That joy in communication is all too rare in professional music-making."
I find him an unusual type of talent who does not belong to the endless row of successful or unsuccessful 'piano key hunters'."
Den durchaus zur Geschwätzigkeit neigenden Solopart gestaltet Olga Scheps klar und deutlich, um jede Note, jede noch so dekorative Verzierung bemüht, dabei allerdings so fein, scheinbar mühelos im Anschlag, dass sich der Blick in die endlosen Weiten der russischen Landschaft wie der russischen Seele zu öffnen scheint: Gefühle in Cinemascope, ein Klangrausch mit zartbitteren Untertönen."
Turkish composer Fazil Say's 2013 "Gezi Park," a musical depiction of the peaceful protest over an Istanbul park's planned demise that turned deadly, received its North American debut in the Peristyle last night.
Written for the talented Onder twins, it was given a convincing and nuanced performance by the duo pianists and the orchestra. Very programmatic in concept, with a cunning mix of Eastern and Western harmonics, the concerto traces the action from evening until the next day in three sections.
A dramatic finale has the orchestra tacit the pianists performing an extended cadenza.
As an encore after a standing ovation, the Onder sisters played a wonderful two-handed version of Astor Piazzolla's classic "Libertango."
A huge thank you to everybody to helped to make the crowdfuning for our project "Anonymus was a woman" succeed!! there are still two days left and we are happy to let you know that we already reached our goal!
Our lovely composer friends now will be working away, we have selected allmost all the texts ... but still so much to do until we will be able to perform all of it on stage! But all of you made the first and most important step happen!
Thank you to all the backers and everybody who shared our posts and talked about them! We are so grateful for your support!!!
Sensitivity and virtuosity aplomb"
Seit Donnerstag (10.9.) können die spannenden österreichischen Projektideen auf „wemakeit.at" unterstützt werden. Die Laufzeiten der jeweiligen Projekte können der Homepage entnommen werden.
Eines der Projekte wurde etwa von den beiden Pianistinnen Ferhan und Ferzan Önder gestartet: "Anonymus - was a woman" soll ein großes Benefiz Konzert ermöglichen, um Frauen-Organisationen zu stärken und zu unterstützen. Die Musik dazu soll über Auftragskompositionen entstehen, die via Crowdfunding finanziert werden sollen. Ziel sind 18.000 Euro bis 23. Oktober.
Wemakeit.at ist eine Schweizer Crowdfunding Plattform, die seit sechs Monaten auch in Österreich präsent ist. Das Prinzip „Crowdfunding" ist einfach: Menschen mit besonders kreativen Projektideen können mit Hilfe erfahrener Coaches ihre Konzepte online stellen. Ist dieser Schritt getan, liegt es an der „Crowd" diese finanziell zu unterstützen, bis die benötigte Zielsumme erreicht ist und das Projekt umgesetzt werden kann."