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] |
Music that has an effeckt – Standing ovations for young artists! |
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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! |
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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! |
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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 |
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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! |
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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 |
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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
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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 |
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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 |
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[03/2101010] | [Robert Wolf / Salzburger Volkszeitung] |
On the concert platform David Frühwirth, Violin |
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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] |