Press
BBC Scottish Symphony Orchestra / Ilan Volkov / Brahms VC / City Hall, Glasgow June 2008
Michael Tumelty, The Herald:
[…] Then, German violinist Christian Tetzlaff gave a magisterial account of Brahm’s Violin Concerto, the second wondrous performance of the piece in Glasgow in a fortnight. […] Tetzlaff’s was powerfully structured, played with blazing intensity, unflagging momentum, heartbreaking tenderness, and a virtuosity that flowed eypressively and purposefully through the mighty structure […]
Recital with Lars Vogt / Glasgow June 2008
Michael Tumelty, The Herald:
[…] violinist Christian Tetzlaff and pianist Lars Vogt gave five-star, thought-provoking performances of sonatas by Janacek, Dvorak and Brahms that amounted to a masterpiece of understated music making in an acoustic which bathed the sound in warmth and set a benchmark for the future of chamber music in the City Hall […]
Brahms / Joachim Violin concertos / Christian Tetzlaff, Danish National SO, cond Thomas Dausgaard, Virgin Classics 502109 2
Hugh Canning, TimesOnline 24. February, 2008:
… Tetzlaff makes the strongest possible case for both works,yet his Brahms, as he showed with the LPO in London three weeks ago, is treasurable. This is wonderfully clean, but never clinical-sounding, music-making that approaches the sublime in his rapt, poetic unfolding of Brahms’s great Adagio. His dazzling multiple-stopping captures the fiery gypsy style in the finale to perfection. Even if you have several versions of this concerto, this one is a must-hear …
London Philharmonic Orchestra / Jurowski: Festival Hall, London Feb 2008
Geoff Brown, The Times:
[…] But once Tetzlaff walked on, we immediately felt better. He’s a dependably excellent musician, always fusing brain and heart with racing fingers and a huge range of dynamics. The colour variations brought to the Brahms were remarkable. Songful stretches balanced tenderness with muscle; and there was no flash posturing about the finale’s gypsy fire. The orchestra’s chief contributions were beefiness and precision. […]
Christan Tetzlaff / St. Louis Symphony Orchestra / David Robertson / Szymanowski VC No 1 / Dec 07, 08 and 09, 2007
Sarah Bryan Miller, STLtoday.com:
… Tetzlaff made his violin sing throughout, playing with sensitivity and breathtaking technical brilliance in a tour de force. It was hard to separate how much of the appeal of this music lay in the composition, and how much in his performance of it, but the combination was dazzling …
Christan Tetzlaff und Alexander Lonquich / New York 92nd St. Y / Beethoven Sonata Cycle / Nov 29 & Dec 02 and 04, 2007
Allan Kozinn, New York Times:
Beethoven’s Sonatas as a Series of Diologues
… In these Mr. Tetzlaff produced a warm, singing tone, acknowledging the music’s lyricism without veering into sentimentality. He tended to used dynamic suppleness rather than vibrato as an expressive engine, and when he used vibrato, it was lavish enough to make a phrase blossom, but not so wide as to call attention to itself…
Vivien Schweitzer, New York Times:
In Sonata Finale, Tension Gives Way to Introspection
… From the gently inquisitive opening trills to the graceful concluding Allegretto, Mr. Tetzlaff and Mr. Lonquich played with poise and charm, colorfully emphasizing the rhythmic accents of the Scherzo and illuminating the heart-stopping loveliness of the Adagio with poignant expression…
Christan Tetzlaff / Boston Symphony Orchestra / James Levine / Berg Violin Concerto in Boston / November 8., 9. and 10, 2007
By Jeremy Eichler, Globe Staff, November 10, 2007:
From Berg and Mahler, two works of farewell
… The soloist Thursday night was the German violinist Christian Tetzlaff, a player who interprets challenging modern music with exquisite sensitivity. His superb performance wa painted in half-tints and subtle iridescence. The orchestra under Levine was an equal partner …
Beethovenorchester Bonn / Roman Kofman, Beethoven Violinkonzert in Leverkusen und Bonn
Die Fratze der Gewalt
Klaus Winterberg, Kölner Stadt-Anzeiger, 25.10.2007
[…]Christian Tetzlaff beschenkte das Publikum mit Beethovens Violinkonzert. Es war ein Erlebnis von purer, makelloser Schönheit. Kofman hatte seiner Bonner in einen ganz anderen Klangkörper verwandelt, der mit großer Sensibilität und dynamischer Delikatesse auf Tetzlaff einging, dessen selbst gefertigte, originelle Kadenzen rahmte und seinen Tempi geschmeidig folgte.
Zusammen mit der btörend schönen Solostimme entstand so ein Kunstwerk edelster Harmonie. Tetzlaffs Technik ist bekannt bewundernswert, sein Ton und siene Ausdrucksfähigkeit führen immer wieder auf einen anderen Stern. Der Beifall war entsprechend: nicht enden wollend.
Bernhard Hartmann,General Anzeiger Bonn 23.10.2007
[…] Der Geiger entlockte seinem Instrument, das übrigens aus der Werkstatt des Bonner Geigenbauers Peter Greiner stammt, ganz wundervolle, gesangliche Töne, achtete dabei sehr auf das Orchester, das nicht nur in den Holzbläser-Episoden schöne Farben dazumischte. Von betörender Wrikung war freilich auch die leise Pizzicato-Episode des langsamen Satzes, bevor Tetzlaff und das Orchester im Finale einen virtuosen Kehraus boten. […]
Press
BBC Scottish Symphony Orchestra / Ilan Volkov / Brahms VC / City Hall, Glasgow June 2008
Michael Tumelty, The Herald:
[…] Then, German violinist Christian Tetzlaff gave a magisterial account of Brahm’s Violin Concerto, the second wondrous performance of the piece in Glasgow in a fortnight. […] Tetzlaff’s was powerfully structured, played with blazing intensity, unflagging momentum, heartbreaking tenderness, and a virtuosity that flowed eypressively and purposefully through the mighty structure […]
Recital with Lars Vogt / Glasgow June 2008
Michael Tumelty, The Herald:
[…] violinist Christian Tetzlaff and pianist Lars Vogt gave five-star, thought-provoking performances of sonatas by Janacek, Dvorak and Brahms that amounted to a masterpiece of understated music making in an acoustic which bathed the sound in warmth and set a benchmark for the future of chamber music in the City Hall […]
Brahms / Joachim Violin concertos / Christian Tetzlaff, Danish National SO, cond Thomas Dausgaard, Virgin Classics 502109 2
Hugh Canning, TimesOnline 24. February, 2008:
… Tetzlaff makes the strongest possible case for both works,yet his Brahms, as he showed with the LPO in London three weeks ago, is treasurable. This is wonderfully clean, but never clinical-sounding, music-making that approaches the sublime in his rapt, poetic unfolding of Brahms’s great Adagio. His dazzling multiple-stopping captures the fiery gypsy style in the finale to perfection. Even if you have several versions of this concerto, this one is a must-hear …
London Philharmonic Orchestra / Jurowski: Festival Hall, London Feb 2008
Geoff Brown, The Times:
[…] But once Tetzlaff walked on, we immediately felt better. He’s a dependably excellent musician, always fusing brain and heart with racing fingers and a huge range of dynamics. The colour variations brought to the Brahms were remarkable. Songful stretches balanced tenderness with muscle; and there was no flash posturing about the finale’s gypsy fire. The orchestra’s chief contributions were beefiness and precision. […]
Christan Tetzlaff / St. Louis Symphony Orchestra / David Robertson / Szymanowski VC No 1 / Dec 07, 08 and 09, 2007
Sarah Bryan Miller, STLtoday.com:
… Tetzlaff made his violin sing throughout, playing with sensitivity and breathtaking technical brilliance in a tour de force. It was hard to separate how much of the appeal of this music lay in the composition, and how much in his performance of it, but the combination was dazzling …
Christan Tetzlaff und Alexander Lonquich / New York 92nd St. Y / Beethoven Sonata Cycle / Nov 29 & Dec 02 and 04, 2007
Allan Kozinn, New York Times:
Beethoven’s Sonatas as a Series of Diologues
… In these Mr. Tetzlaff produced a warm, singing tone, acknowledging the music’s lyricism without veering into sentimentality. He tended to used dynamic suppleness rather than vibrato as an expressive engine, and when he used vibrato, it was lavish enough to make a phrase blossom, but not so wide as to call attention to itself…
Vivien Schweitzer, New York Times:
In Sonata Finale, Tension Gives Way to Introspection
… From the gently inquisitive opening trills to the graceful concluding Allegretto, Mr. Tetzlaff and Mr. Lonquich played with poise and charm, colorfully emphasizing the rhythmic accents of the Scherzo and illuminating the heart-stopping loveliness of the Adagio with poignant expression…
Christan Tetzlaff / Boston Symphony Orchestra / James Levine / Berg Violin Concerto in Boston / November 8., 9. and 10, 2007
By Jeremy Eichler, Globe Staff, November 10, 2007:
From Berg and Mahler, two works of farewell
… The soloist Thursday night was the German violinist Christian Tetzlaff, a player who interprets challenging modern music with exquisite sensitivity. His superb performance wa painted in half-tints and subtle iridescence. The orchestra under Levine was an equal partner …
Beethovenorchester Bonn / Roman Kofman, Beethoven Violinkonzert in Leverkusen und Bonn
Die Fratze der Gewalt
Klaus Winterberg, Kölner Stadt-Anzeiger, 25.10.2007
[…]Christian Tetzlaff beschenkte das Publikum mit Beethovens Violinkonzert. Es war ein Erlebnis von purer, makelloser Schönheit. Kofman hatte seiner Bonner in einen ganz anderen Klangkörper verwandelt, der mit großer Sensibilität und dynamischer Delikatesse auf Tetzlaff einging, dessen selbst gefertigte, originelle Kadenzen rahmte und seinen Tempi geschmeidig folgte.
Zusammen mit der btörend schönen Solostimme entstand so ein Kunstwerk edelster Harmonie. Tetzlaffs Technik ist bekannt bewundernswert, sein Ton und siene Ausdrucksfähigkeit führen immer wieder auf einen anderen Stern. Der Beifall war entsprechend: nicht enden wollend.
Bernhard Hartmann,General Anzeiger Bonn 23.10.2007
[…] Der Geiger entlockte seinem Instrument, das übrigens aus der Werkstatt des Bonner Geigenbauers Peter Greiner stammt, ganz wundervolle, gesangliche Töne, achtete dabei sehr auf das Orchester, das nicht nur in den Holzbläser-Episoden schöne Farben dazumischte. Von betörender Wrikung war freilich auch die leise Pizzicato-Episode des langsamen Satzes, bevor Tetzlaff und das Orchester im Finale einen virtuosen Kehraus boten. […]
