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Recitals mit Steven Osborne in Köln, Darmstadt, Ettlingen, Korbach, Erbach, Straubing
(Beethoven C, Schnittke, Messiaen „A L‘Eternite de Jesus, Rachmaninov) |
“…Alban Gerhardt and Steven Osborne made <the musical perception of time> with a tremendous intensity in Schnittke‘s sonata an obvious experience. In the outer Largo movements the ARD-price winner and the excellent British pianist forced with highest concentration a retardation of time – until the almost standstills at the end…The effects of collage and alienation which stand very clearly in the tradition of Shostakovich, could have barely been depicted more lush. Their idea to have the fifth movement of the ‚Quatuor pour la fin du Temps‘ by Olivier Messiaen follow directly the desperately sad ending Largo without interruption was ideal…Besides Gerhardt‘s warm, singing and by much sentiment supported sound, Osborne‘s high culture of touch attracted attention. Without any key thunder nor fog of the right pedal he opened the view to the deeper content…”
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| Guido Holze, February 4, 2004 |
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| Elgarconcerto with the City of Birmingham Symphony and Sakari Oramo in Frankfurt |
| “...as contrast we heard before the intermission a rather quiet work: Alban Gerhardt was the soloist in Edward Elgar's Concerto for cello and orchestra in e minor op.85. He played with considerable authenticity of the piece’s mood and in a very vivid dialogue with the orchestra. He rewarded his happily applauding audience with an encore by Bach...” |
| Harald Budweg, April 7, 2003 |
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| Chambermusic with L.Vogt and C.Poppen in Berlin, Schauspiehaus |
| “...The magic introduction of Vogt led the interpretation of the Arpeggione-Sonata in the already by Brahms admired regions of a young god. Gerhardt performed the entire work as an inner vision which made us a feel with every note, that it has its origin in a happy situation. Unusual inspired musicmaking....” |
| April 21, 2001 |
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| Dvorak Concerto with F.Luisi, the MDR Leipzig in the Konzerthaus, Berlin |
| “…Der junge Solist Alban Gerhardt wird noch von sich reden machen…” |
| May 18, 2000 |
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| Lalo Concerto with Frankfurt Radio and Gilbert Varga in Alte Oper, Frankfurt |
| “…Alban Gerhardt played with beautiful sound…” |
| January 18, 1999 |
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| Don Quixotte at the Rheingau-Musikfestival, Bamberg Symphony + G.Albrecht |
| “...To the highlights of the evening we have to add the soloist: the cellist Alban Gerhardt was an extremely flexible Don Quixotte, playing out all facets of his instrument...” |
| July 13, 1999 |
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| Recital with Ewa Kupiec at Eltville Festival |
| “... His left hand moved in a break-the-neck tempo over the fingerboard and forms ornaments like arabesques of the theme ... Alban Gerhardt takes all obstacle - Kodaly's solosonata demands a fully developed technique on the cello. An hypnotic sound through a rich variety of different bow strokes, a polyphonic playing in a complex together of arco and pizzicato as well as a very fine advanced dynamical range. He plays with bravura and gets the content of expression out of this difficult factor apparently without effort ... He finds a very convincing way between expressive tension and transparent shaping of forms. He fully deserves the reputation of superlatives which precedes him ... The interpretation of the duo Gerhardt/Kupiec brought out of Brahms' e minor Sonata the expressive depth of the piece, a powerful performance with all the toughness and sharpness it needs and which was exciting because of its extreme diction ... The Pulcinella Suite demands highest precision and gave him the opportunity to show another colour of his fascinating interpretive range.” |
| August 5, 1995 |
