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Kritiken int. Zeitungen
This recital showed Frühwirth to be a vibrant and commanding musician. No-one could have faulted his technical prowess in Fritz Kreisler’s Serenata espagnola which made a deft encore.
[2011] [www.Classicalsource.com]

 
David Frühwirth made a strong case for Harvigal Brian´s Legend in his Wigmore Hall recital. He warmed instinctively to the Romantic, and vividly projected the more tempestuous and harmonically edgy middle part. Dvoraks Sonaina opened the concert, and in it Frühwirth displayed a distinctive approach. A charmingly good-humoured scherzo, not devoid of swager, was a high point. The first movement of Brahms Violinsonata Nr 3 unfolded organically. The´re was no shortage of expression or colour in Falla´s “Suite Popolaire espagnole”, a reading characterised by a mystical “Nana” and a fearsomely strutting “Polo”. In his encore – Kreislers Serenade Espagnole – Frühwirth was sweet toned throughout!!
[10/2011] [Edward Bhesania / Strad Magazine]

 

Brahms Violinkonzert, England
Brahms Violinkonzert, England
The Soloist in Brahms Violin concerto in D-Major was the young Austrian David Frühwirth, who is making a name for himself in the top concert houses of the world. He gave a superb performance, displaying the diversity of the first movement, the song-like nature of the Adagio and the fun of the Rondo Finale. He performed on the ex-Brüstlein Stradivari and brought out a the most beautiful tone.
 [02/2005] [ De Montfort Hall, Leicester ]

 

Jacqueline du Pré’s Memorial Day Concert, Birmingham
Jacqueline du Pré’s Memorial Day Concert, Birmingham
I could hear a tea-time performance of one of Jacqueline du Pré’s favourite works; the Beethoven’s Ghost Trio, played by David Frühwirth (violin), Jamie Walton (cello) and Daniel Grimwood (piano), and it was spot on. Rushing back to the office afterwards, was slightly surreal.
 [02/2005] [ “Birmingham Alive” reviews ]

 

Salzburg Festival 2004 – Debut Recital

Seductive Sonatas
 Violinist David Frühwirth set himself a challenge and won magnificently. Not only the extraordinary, in no way “Standard” programme was celebrated at the end of the debut concert in the Mozarteum, also the masterfully secure and deeply emo tional realisation of the extremely high technical and interpretational demands of the works.In Hans Gál’s Sonata in D major, David Frühwirth intelligently unfolded his ability to present structures and fill them with content. Frühwirth’s tone is full-bodied and earthy and yet without too much pathos, emphatic and with balanced contours. Ernst Krenek’s Sonata op. 3 was the final highlight in the magnificent triumphant debut recital.
Hans Langwallner, Kronen Zeitung, 08/04Along unknown paths
 It is an honour for any artist to be included among those performing at the Salzburg Festival but it is especially so for a young violinist from Salzburg . David Frühwirth is not a musician who is content with making his way through the life of a soloist with easily accessible, standard repertoire. He looks for, and discovers, rarities. David Frühwirth was always a sure and confident violinist who was confronted neither with technical nor mental problems. A young man who knows precisely what he wants, Frühwirth plays a Stradivari belonging to the Austrian National Bank on which, in his convincing debut recital in Salzburg, he produced rich facets and so mbr e nuances.
Ernst Strobl, Salzburger Volkszeitung, 08/04Kaleidoscope of a volatile time
 Accompanied by the congenial pianist Henri Sigfridsson, Frühwirth showed how individual tone creations arise from the tension between classical forms and an almost improvised, so to speak, sound fantasy. It was also characteristic of the violinist’s own tone, how the cantabile sound of the violin rose slowly and calmly from sonorous depths to the highest notes in a seemingly endless cantilena,; here was an artist who knew perfectly how to blend sumptuous sweetness with a well measured touch of bitterness.
Karl Harb, Salzburger Nachrichten, 08/04
 [08/2004] [ / ]

 

Brucknerhaus Linz, Antonin Dvorak: Violin Concerto
David Frühwirth is a young violinist on the way to a major world career. He was a pupil of some of the greatest violin teachers of our day and he speaks with his Stradivari (from the year 1707) as if playing the violin was the first language he learned in his childhood. He plays naturally, without allure but with a mastery that could almost make one feel uneasy!
Brucknerhaus Linz, Antonin Dvorak: Violin Concerto, Staatsphilharmonie Rheinland Pfalz, Conductor: Theodor Guschlbauer
 [03/2004] [ Ingrid Feilmaye / Neues Volksblatt ]

 

Violinist David Frühwirth enthusiastically acclaimed in Schloss Elmau

David Frühwirth was one of the quieter pupils of the great violin teacher Zakhar Bron, as well as of the legendary Ruggiero Ricci and Pinchas Zukerman — teachers Frühwirth himself chose to study with. However, the way in which David Frühwirth performs, shows that it is not at all a matter of ambitiously re-creating the past but above all of making a fresh, unprejudiced rediscovery of great music. During his concert in Schloss Elmau audiences could experience David Frühwirth primarily as a highly talented violinist with an equally sure and sensitive approach to interpretation. We can look forward to Frühwirth’s debut at the Salzburg Festival in August with eager anticipation.
 [07/2004] [ Helmut Mauro / Süddeutsche Zeitung ]

 

Breathtaking Violin Playing !

The brilliant violinist David Frühwirth as soloist — acrobatics with the violin!
In Barber’s Violin Concerto Frühwirth found the relevant challenge for a bravura display of solo playing in a work rich in melodies and neck-breaking violin acrobatics! Together with the orchestra “InnStrumenti” the result was an appealing portrait of Barber combining virtuosity, and a first-rate interpretation full of delicate nuances of sound. David Frühwirth masters a brilliant art of differentiation and phrasing and created a great rapport with the orchestra.
 [11/2003] [ M. Hause / Tiroler Tageszeitung ]

 

Wigmore Hall Recital
Intensity was the watchword for the Austrian violinist David Frühwirth!David Frühwirth plays a Strad and draws from it a rich, singing tone which beautifully sets off his sense of intelligent, long-spun melodic lines. Launching into Mozart’s C major Sonata he established a strong, balanced partnership with his superb pianist, Noam Greenberg; this was full-blooded Mozart, pleasingly phrased and with its feet on the ground. Janácek’s Sonata was an effective contrast and some m emo rable moments of hushed magic emerged in the Ballade. Frühwirth produced also some real electricity in the opening of Pärt’s Fratres .
 [10/2003] [ The Strad ]

 

At the 2nd Philharmonie Concert everything went perfect!
Homage Nr 2 in this evening; of course Mozart…the young Violinist David Frühwirth convinced with soulful simplicity in motion and sound – which is appropriate for Mozart Concertos!! The orchestra slightly overdressed accompanied corrispondingly.
 [11/2002] [Jens Voskamp / Nürnberger Nachrichten ]

 

Absolutely no fear
Reviews of Martinu Violin Concerto No. 2 Oct. 2002
David Frühwirth Violin
Lisabeth Fuchs ConducterThe Junge Philharmonie Salzburg conducted by Elisabeth Fuchs played Beethoven’s monumental Ninth Symphony and David Frühwirth made a strong impression with his performance of Martinu’s Violin Concerto No. 2. (…) David Frühwirth’s strongly contoured interpretation was stunningly distinct against a dark orchestral background, his tone subtly blended with oppressive colours and passion.
 [10/2002] [Hans Langwallner / Die Krone ]

 

Courage to take risks
Reviews of Martinu Violin Concerto No. 2 Oct. 2002
David Frühwirth Violin
Lisabeth Fuchs ConducterBefore the interval Elisabeth Fuchs conducted the Junge Philharmonie in a performance of Martinu’s Violin Concerto No. 2 with David Frühwirth as soloist. His beautifully rounded tone, rich and resonant, with controlled and considered dignity was no small achievement —the work was after all written for Mischa Elman and Koussevitzky’s Boston Symphony Orchestra and fluctuates between Moravian yearning and ‘American’ brilliance. David Frühwirth found the perfect balance between careful reserve and impassioned rapture.
 [10/2002] [Austria, Karl Harbf / Salzburger Nachrichten ]

 

Unleashing of enormous energy!
Reviews of Martinu Violin Concerto No. 2 Oct. 2002
David Frühwirth Violin
Lisabeth Fuchs ConducterThe Czech composer Martinu’s Violin concerto No.2, composed in New York, developed in this performance into an insistent symphonic prelude. The Salzburg-born violinist David Frühwirth conveyed Martinu’s powerful reaction to the war year 1943 with extreme tension and radiant sound. The interpretation by this internationally renowned young soloist reflected his awareness of the continuing severity of world events
 [10/2002] [Austria, Robert Wolf / Salzburg ]

 

With Brilliance and Glory!
..on the programm was the 2nd Violinconcerto by B.Martinu and for the Solo part David Frühwirth, the excellent young Austrian Violinist from Salzburg, has been invited. He is an exeptional Artist, who understands with virtuos playing to show the beauty and power of that work, retrospectiv – impressionistic hints and to use the soft full sound of his instrument to the full extent. With imaginary simplicity he mastered even the furioso passages in the 3rd movement! Magnificen !!
 [09/2002] [Andrea Leonhard / Mühldorf,Germany ]

 

Virtuoso New Year’s Eve Concert
Brilliant Paganini interpretation by David FrühwirthSalzburg Great Festival Hall, Slovakian State Philharmony, 2002 New Year ConcertSoloist in Paganini’s Violin Concerto in D major was David Frühwirth from Salzburg, who has matured into a phenomenal full-blooded musician. With his magnificent technique he mastered the complicated flageolet notes and pizzicato interjections admirably, presenting even the most rapid runs with astonishing clarity. He also combines inner tension and expressive power to convey the full romantic content of the melodic developments. His interpretation of the Adagio for instance was totally unsentimental and yet strikingly expressive. The Rondo movement was characterised by captivating brilliance and mischievously witty playing.
 [03/2002] [Franz Padinger / Salzburger Nachrichten ]

 

 

 

 

THE STRAD / Rewiev Concerts Febr. 2002
David Frühwirth (violin), Henri Sigfridsson (piano)
WIGMORE HALL, London 5 November 2001David Frühwirth ist one of the most refined young violinists appearing in recital today. His noble and focused tone (he plays a 1715 Bergonzi) is matched by an artistically profound insight and a keen sense of musical architecture. This recital was part of a two-month international festival exploring the artistic connections binding Vienna, Berlin and London between the two world wars. The repertoire included much that has waited more than 60 years for a London performance – or, in the case of works by Egon Wellesz and Hans Gál, any performance at all.Frühwirth opened with the UK premiere of Adolf Busch’s Suite for violin and piano op. 38. Busch is best remembered today as a violinist, and his work not surprisingly revealed an innate sympathy for the violin’s expressive potential, a sympathy Frühwirth exploited to the full in the lovely Andante cantabile. Wellesz was one of a number of composers forced into exile by Hitler’s National Socialists. His accomplished Suite is an appealing work, much more so than Korngold’s “Much Ado about Nothing’ Suite, another vastly overrated endeavour from an overrated composer. Both players, however, gabe a committed performance.
How histortcally unjust that Korngold’s music is increasingly heard while that of Hans Gál suffers neglect. His Violin Sonata no. 2 in D major is a substantial addition to the chamber music canon and Frühwirth deserves pralse for rescuing it. I was especially taken with the final movement Largo, which has an expressive depth of aching poignancy.
With Walton’s Toccata (1922 – 23) and five pieces from Weill’s Threepenny Opera (trans. Stefan Frenkel). Frühwirth stamped an emphatic mark of the music. The Walton was hugely impressive, both parties negotiating its deceptive twists and turns with panache. And the Weill proved the perfect musical foil and a rare chance to Frühwirth to display his humorous side.
 [02/2002] [Paul Cutts / THE STRAD]

 

TEMPO Magazin, David Frühwirth’s performances were exemplary…
London, Wigmore Hall: Hans Gál and Egon Wellesz premièresOn 5 November the Austrian violinist David Frühwirth and Finnish pianist Henri Sigfridsson gave one of the most interesting chamber programmes to have been heard for years – and not just in the Wigmore Hall but in any London venue. The Suite in G minor (1927), by Adolf Busch, the Suite op. 56 (1937, rev. 1957) by Egon Wellesz and a third suite, Korngold’s “Much Ado About Nothing”; the second half contained Hans Gál’s Sonata in D (1933) and Walton’s little-heard Toccata for violin and piano (1922-23), the whole rounded off with five numbers from Weill’s “Dreigroschenoper”, transcribed for violing and piano by Stephan Frenkel (1930).Once into his stride David Frühwirth’s performances were exemplary, delivered with that strong-and-sweet manner that seems to be an Austrian speciality – his Korngold would have done Kreisler proud!! But our chief debt to him and Sigfriddson was for their discoveries.
 [01/2002] [Martin Anderson / TEMPO Magazin]

 

The Strad Feb. 2001
A finely characterised and delicately phrased reading of Mozart´s Violin Sonata K296 opened Austrian violinist David Frühwirth and pianist Christoph Hinterhuber´s recital at the Wallace Collection on 19 November. In a spot of dramatic programming, Frühwirth then hurled us straight into the gritty power of Schnittke´s quirkly Sonata no. 1. It was here that he really proved the depth of his soloistic powers, his understandig of Schnittker´s nightmarish world richly revealing. Honey-throated Viennesse Iyricism followed with Korngold´s Much Ado about Nothing Suite, then a richly dramatic reading of Brahms´s Sonatentanz from the ‘FAE’ Sonata, which was tender and strident by turns. The virtuosic, lilting delights of Sarasate´s Romanza Andaluza brought the concert to a compelling close.
 [08/2001] [The Strad]

 

Music that has an effeckt – Standing ovations for young artists!
Enthusiastic applause for soloist David Frühwirth.At this concert, David Frühwirth proved himself to be a technically skilled, experienced and highly expressive partner for the orchestra. His strength lay above all in his lyrical interpretation of the melodie lines in the solo part. The appreciative audience were enthusiastic in their applause and did not let the violin-virtuoso out of the hall without an encore.
 [07/2101010] [Osterland-Kultur]

 

 

The Northwest German Philarmonia presented the exceptional violinist David Frühwirth!

Wild romanticism on concert tour …The Nordwestdeutsche Philharmonie gave us a feast of unbridled romanticism in the New Hall in Detmold. For this concert the orchestra had booked a truly phenomenal violinist, who brought his listeners to real storms of enthusiasm.Frühwirth, 26 years of age, plays his Italien violing with incredible mastery, and has an overflowingly generous and imposing podium presence. In David Frühwirth we feel once again something of the charisma of the nineteenth-century wirtuosi. In conert we experience him moving with unlimited freedom as the very epitome of the work-shaping ego. In Aram Khatchaturian’s popular concerto he had chosen a music which, with its mixture of folkloristic melodies and harmonies, and highly dramatic architecture, was well-suited to making him a true ambassador for the composer’s homeland. Played with such bravura as it was on Tuesday evening, one felt the unqualified enthusiasm it evoked in the audience was fully justified.
 [12/2101010] [Andreas Schwabe/Neue Westf. Zeitung ]

 

The highpoint of the evening – the phenomenal young violinist David Frühwirth!
Philharmonia in its most thrilling form for years …The phenomenal young violinist David Frühwirth was the chief attraction of the evening. He is one of the brightest stars in the firmament of the younger generation of violinists, with a considerable number of competitions prizes to his credit. Not least of all, his audience were spellbound by the full, warm tone that he drew from his precious Italien instrument (Carlo Bergonzi, Cremona, 1715). It was particularly the warm tone colour of the G-string which was used to full effect in the Sibelius concerto, above all in the melancholy adagio, in which the orchestra was a sensitive partner to the soloist’s interpretation. Frühwirth rose to the devilish demands of the brilliant last movement with a rare virtuosity. He was so fully in command of the almost unplayable double-stopping passages that the audience can hardly have been aware of the difficulties they present, their attention beeing fully taken up by the wonderful tone he continued to give. But even the audience’s tumultuous ovations were not able to persuade him to give them an encore.
 [12/2101010] [Jutta Albers/Haller Kreisblatt]

 

Perfection and Sensation
Großes Festspielhaus: Nordwestdeutsche Philharmonie, Kamioka, FrühwirthOn Tuesday evening, Salzburg violinist David Frühwirth gave a sensational performance of the violin ooncerto by Khatchaturian. He can be heard again tonight in the cycle “Welt der Musik” in the concerto by Sibelius. After studies at the Mozarteum, and in Lübeck and New York, the 26-year-old David Frühwirth is now an internationally recognised violinist. Khatchaturian composed his violin concerto for David Oistrakh, so it is understandable that he was generous in writing in virtuoso effects. Playing with an extreme degree of concentration, Frühwirth demonstrated convincingly that in its substance, this work goes much deeper than that. In the first movement he adhered strictly to the marking con fermezza (steadily); both in the sensuous cantabile of the cadenza and in the hopefully glimmering but occasionally overclouded andante he maintained the tension; and in the vivacious dancing final movement he showed the steel nerves of a musical acrobat performing without a net. It was thoroughly in keeping with David Frühwirth’s approach that he responded to the audience’s enthusiastic applause in a quite unshowy fashion, with a lyrical melody by Dvorak.
 [12/2101010] [Robert Wolf/Salzburger Volkszeitung]

 

Earthed Poise and Balance!
David Frühwirth, born in 1974, made a fantastic impression on his audience in the first of two appearances with the violin concerto by Khatchaturian and Sibelius. This was certainly a result of the tremendous repose which he radiates. What is going on inside him may be another matter, but his podium presence is one of uninterrupted balance of concentration. What is probably the most important characteristic of this violinist is, that this poise is not held at the expense of quality on the artistic and interpretative level. Shaping the work as an organic whole, knowing its own mind, detail and the grandes lignes, lightness of touch and meaningfulness – David Frühwirth draws all these qualities from bringing the inner and outer dimensions together and making them one. From the high acclaim he received from the audience, it was clear to all present that this is a violinist with a great future.
 [12/2101010] [Hans Langwallner/Krone Salzburg]

 

Concert Stage/Großes Festspielhaus
Khatchaturian’s exuberant violin concerto is a work which gives the soloist ample opportunity for sensational effects. But Tuesday evening’s concert at the Großes Festspielhaus was proof enough that when David Frühwirth plays this concerto, he is by no means using its for superficial displays of brilliance. He extended the expressive palette in all directions, above all in the melancholy slow movement, expressly coloured as it is by the tones of the violas, cellos and darker woodwind. In the clattering neo-classically episodes Frühwirth was able to make the very most of his sweet but always elegant tone – which also always carries – and he also managed to bring a number of humorous ideas into the folkloristically picturesque last movement.
 [12/2101010] [Krie/Salzburger Nachrichten]

 

Virtuoso New Year’s Eve Concert
Brilliant Paganini interpretation by David Frühwirth
Soloist in Paganini’s Violin Concerto in D major was David Frühwirth from Salzburg, who has matured into a phenomenal full-blooded musician. With his magnificent technique he mastered the complicated flageolet notes and pizzicato interjections admirably, presenting even the most rapid runs with astonishing clarity. He also combines inner tension and expressive power to convey the full romantic content of the melodic developments. His interpretation of the Adagio for instance was totally unsentimental and yet strikingly expressive. The Rondo movement was characterised by captivating brilliance and mischievously witty playing.
 [01/.2002] [Franz Padinger / Salzburger Nachrichten]

 

David Frühwirth, Violin and Nicola Eimer, Piano
David Frühwirth, Violin and Nicola Eimer, Piano, at the Salzburg Mozarteum
With sparkling energyThe duo of the Salzburg violinist David Frühwirth and the London pianist Nicola Eimer is a combination of great talent, energy and ambition, with both two musicians contributing to the partnership in equal measure. The audience of a sold-out Wiener Saal certainly had this impression and reacted with jubilation.
The young musicians, 26 and 23 years old respectively, attended the Mozarteum and the Royal Academy, and both continued their studies in New York.
Their Salzburg programme confirmed the rightness of the path they have followed. In the G major Sonatina by Dvorak, David Frühwirth showed all the beauty of tone of his Cremona violin, a loan from the Austrian National Bank. This opus 100 saw the two musicians pitted against each other in a passionate duel. Nicola Eimer took full account of Dvorak’s having designated the piece ‘for piano and violin’. Without exaggerating her leading role, it was she who held the reins. In the Divertimento for violin and piano which Stravinsky wrote into the shortened version of his ballet The Fairy’s Kiss, the two opted with full justification for a certain measure of garish tone colours and sheer power.In Erich Wolfgang Korngold’s suite Much Ado About Nothing, the duo gave expressive musical pictures of Bridal Morning, The March of the Guard, Garden Scene and Masquerade. Korngold’s Viennese tone was admirably suited to Shakespeare’s colourful stage setting. The performance of the A major Sonata by Cesar Franck was another demonstration of David Frühwirth and Nicola Eimer’s originality. No self-indulgence, simply the pursuit of musical truth
 [03/2101010] [Robert Wolf / Salzburger Volkszeitung]

 

On the concert platform David Frühwirth, Violin
Born in Salzburg in 1974 and having studied for many years away from his home town, notably with Zakhar Bron in Lübeck and Pinchas Zuckerman in New York, David Frühwirth is an outsider among our violinists. As a result of his conscious cultivation of an identity not tied to the traditions of his native town, he has acquired and become a very original personality. This personality was put fully at the service of the music in a – in all the best senses of the word – ‘popular’ programme presented in the Trust’s concert series ‘Young Artists from Salzburg’ on Tuesday, and redounded fully to his credit.In his incidental music for ‘Much Ado About Nothing’ of 1919, Erich Wolfgang Korngold combines the charm of the Viennese waltz with Kreislerian salon romanticism. By maintaining a certain ironic distance, Frühwirth allows us to hear these pieces fresh and to put aside our reservations. As he always maintains an elegant line and phrase, never overdosing on tone, David Frühwirth has no need to be shy of the sort of music which otherwise easily drifts into kitsch.Nor should the contribution of the young London pianist Nicola Eimer be underestimated. With the confidence of a sleepwalker she created a framework within which the violin could blossom with ease, thus achieving her own emancipation and the right to make her own interpretative contribution.The programme began and ended with works that violinists’ dreams are made of, Dvorak’s G major Sonatina and Franck’s sumptuous A major Sonata. In both pieces Frühwirth’s tone again fully proved its worth, for the most part highly sensuous and yet free of any over-oiled romanticism.
 [03/2101010] [krie / Salzburger Nachrichten]