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| Additional German Newspapers |
| Badische Neueste Nachrichten |
| Recitals mit Steven Osborne in Ettlingen (Beethoven C, Schnittke, Messiaen 'A L‘Eternite de Jesus', Rachmaninov) |
| “Eruption and Emotion |
| In the captivating rendition of both musicians, who went courageously until the limits of just beautiful sound while exploring the dynamic extremes, while at the same time indulging in colours full of fervor, the four movements became an unalloyed joy to listen to.” |
| Rem, February 2, 2004 |
| Solorecital and cross-over with Katalina Segura |
| “Alban Gerhardt shines with technical brilliance |
“Staggering, breathtaking, fantastic‘ – superlatives like that or similar ones could be heard in intermission…They described an excellent concert experience which the price-winning and internationally renowned cellist Alban Gerhardt offered his numerous audience….Above all his absolutely virtuoso rendition of the Kodaly Solosonata deserved these remarks to the highest degree…Just to think of the technical brilliance of this musician makes me rave even afterwards. Brilliant virtuosity alone does not guarantee a rendition of such high artistic validity. Alban Gerhardt paired this with a musical sensitivity which made especially the intensive and very expressive passages a moving listening experience…The very successful Latin-singer Katalina Segura sang these highly melodious and poetic songs about love and lovesickness with her silky voice. She employed her clear and natural voice with its pleasant vibrato very sensitively which showed to its full advantage in the especially melancholy passages…” |
| Wolfgang Epp, April 28, 2004 |
| Berliner Zeitung |
| “...After that the discovery of the evening: the 22 year old cellist Alban Gerhardt, born in Berlin. For his first concert with the Berlin Philharmonic Orchestra he had chosen Tchaikovsky's "Variations of a Rokoko Theme", which are full of fantasy yet somewhat worn out. He could definitely afford it. Gerhardt's highly sophisticated musicality is combined with intuitive precision and tender sensibility. His chevaleresque zest and naturality were inspiring and moving. The young talent, yet unspoiled by glory, was rewarded by an unanimous Bravo...” |
| October 12/13, 1991 |
| Bild-Leipzig |
| With Kurt Masur and the Gewandhaus Orchestra Leipzig |
| “...Although Maestro Masur celebrates his greatest triumphs in New York, he returned to the stand in the Gewandhaus. Together with the 'Cello Artist' Alban Gerhardt he enchanted the audience with Prokofiev's Sinfonia Concertante. Masterful, without music, Alban Gerhardt played one of the most difficult cello concertos of the world impeccably. Bravo!...” |
| March 21, 1998 |
| Darmstädter Echo |
| Recital mit Steven Osborne in Darmstadt (Beethoven C, Schnittke, Messiaen 'A L‘Eternite de Jesus', Rachmaninov) |
| “Made in one casting |
| Alban Gerhardt and his piano partner Steven Osborne played the Schnittke Sonata so concentrated and exciting that their listeners were enthusiastic. The corner movements were very well balanced, and the aggressive presto of the middle movement revealed highly virtuoso qualities – a performance like made in one casting. In the meditative piece my Messiaen the cellist built with his supple sound and superior composure a tremendous arch of tension. Before the duo had performed Beethoven‘s Sonata in C major in a brusque interpretation in which they pushed the contrasts to the limit. It almost seemed as if Beethoven was there to prepare the modern music. The perfect collaboration and the impeccable balance were especially exemplary…The cellist who played the entire program by heart made the sweeping cantilenes flourish, the pianist mastered the tricky figuration without ever covering the cellist…Long lasting applause with many bravos and two delicate encores: Rachmaninov‘s Vocalise and Gaspar Cassado‘s Requiebros.” |
| Klaus Trapp, January 31, 2004 |
| Dresdner Neueste Nachrichten |
| Dvorak Celloconcerto with Dresden Philharmonic under Dmitri Kitaenko |
| “…Nevertheless some things can go wrong in this concerto, which demands besides substantial virtuosity an almost chambermusic-like understanding between orchestra and soloist. This didn‘t happen at all – Alban Gerhardt as a perfect and tonally intensive soloist as well as the wind soloists of the Philharmonic Orchestra produced effective and fine moments continuously. Kitaenko mediated with such great overview that even the most tricky places had no audible imprecisions at all…Since Alban Gerhardt didn‘t allow an encore in spite of lasting enthusiasm, the orchestra played Ravel‘s Bolero…” |
| Benjamin Schweitzer, February 9, 2004 |
| Esslinger Zeitung |
| 1st Schnittke Celloconcerto with the Stuttgart Radio Orchestra under Y.Kreizberg |
| “Hymnic Finale | ...Alban Gerhardt‘s sound and his understanding of the piece made the three first movements a forceful listening experience.But the religious last movement, written after Schnittke‘s bad stroke, increase into the hymnic. The music elevated in a spiral movement until the most extreme harmonic notes of Gerhardt‘s wonderfully sonorous instrument…” |
| Dietholf Zerweck, , 24.April 2004 |
| Frankfurter Neue Presse |
| Elgarconcerto with the City of Birmingham Symphony and Sakari Oramo in Frankfurt |
| “...Alban Gerhardt shaped Edward Elgar's rough cello concerto in a similar way, intimate and passionate. Gerhardt proved to be superior to all technical challenges. He dominates a warm, fluent stroke...The applause was overwhelming.” |
| April 8, 2003 |
| Frankfurter Rundschau |
| Elgarconcerto with the City of Birmingham Symphony and Sakari Oramo in Frankfurt |
| “Titanically quiet |
| ...Even Alban Gerhardt, brilliant soloist in Edward Elgar's Celloconcerto, could hardly outbid the light certainty and zest of the orchestra. And he didn’t need to. The cat-like flexible ensemble sung so subtly to the elegant sounding cello solo that Gerhardt had never to fight for his life...Something like that one can’t even take for granted with the cooperation of a world-class orchestra, a phenomenally spontaneous conductor and one of the most desired cellists of the younger generation as in this case. But it becomes more possible if they have already experienced exciting things together as in August 2001 at the London Proms: Alban Gerhardt replaced Heinrich Schiff on very short notice at a concert of the CBSO under Sakari Oramo, playing the Dvorak Celloconcerto and making the British press shout with joy. Also the Frankfurt audience shouted with joy. And they were made happy, noblesse oblige, with a brilliant rendition of the Prelude from the Bachsuite No.6...Titanic applause.” |
| Annette Becker, April 9, 2003 |
| Lalo Concerto with Frankfurt Radio and Gilbert Varga in Alte Oper, Frankfurt: |
| “…Alban Gerhardt captivated his audience with his skillful playing instantly. Expressive while introvert, slender in his sonority, awake while dreamy – the sound of the young cellist is fascinating…” |
| January 19, 1999 |
| Generalanzeiger |
| Haydn C Major in Cologne with the Gürzenich Orchestra under Gerard Korsten |
| “Completely free music-making – Alban Gerhardt is brilliant at Gürzenich-Konzert |
| …Alban Gerhardt was recently in the headlines because of the theft of his valuable instrument. More important though are the headlines about the artistic importance of the young soloist, who looks so serious while dodging the traditional outfit with his red shirt over black trousers saucily…Many double-stops (still enhanced in the two not original cadenzas) accentuate a decidedly masculine outline. Alban Gerhardt mastered them playfully and distributed the many notes evenly as if with a resounding water sprinkler. The ease even in technically difficult places is astonishing, nothing berserk or pinched. This way the concerto experienced a winged vitality which transferred itself to the applause of the audience….” |
| Christoph Zimmermann, March 10, 2004 |
| Hamburger Morgenpost |
| Haydn D Major Concerto in Hamburg Musihalle with Hamburg Symphony and Olaf Henzold |
| “...It was a pure pleasure to experience the delicacy of Alban Gerhardt's performance of the Haydn...A thrill was his warm sound, his exquisite nuances of colours, his virtuoso but at the same time unpretentious playing....” |
| February 22, 2000 |
| “...Alban Gerhardt presented the solopart [of Haydns Celloconcerto in D] with bravoura. I was delighted that he played extremely sensitiv and not like a go-getter: A musician who cares with his heart for each note, each nuance. Fascinating is his intensity in the pianissimo as well as the expressivity in the as encore performed Prelude of Bach [6th suite]. His perfect sound always has reserves...” |
| November 7, 1994 |
| Hannoversche Neue Presse |
| Schumann Concerto with Staatskapelle Hannover |
| “... As fresh and at the same time intimate as with the young Alban Gerhardt we never heard this problematic piece before. Fresh, because his talkative articulation objected any kind of brooding. Intimate because his cellosound sang soft, but extremely intense...” |
| October 19, 1994 |
| Hannoveranische Allgemeine Zeitung |
| Recital with Markus Becker im NDR Hannover |
| “Excellence of Interpretation |
| He must also be a good soccerplayer, so agile did he move across stage after his sportsaccident with his cello in one arm and a crutch in the others - he might be a quite an attraction on a playingfield. As a cellist he is certainly an attraction, and as a musician he employs all his capabilities: the most challenging pieces for cello by Bach, Beethoven and Brahms, and almost on the side, yet with great musical maturity, the Debussy sonata. As partner finally Markus Becker...the result: We could hear a sensational concert of young artists. How often does the 6th Bach Solosuite D major seem to cost an enormous cellistic effort. Nothing of the sort was the case in Alban Gerhardt's performance. With sense and sensibility, superior technical skill and impecable instinct for structural elements, he pointed out upbeat motives, and he played repeats with musical innovation. It was spectacularly interesting and of the highest quality. Playing the Beethoven A major sonata with exquisite transparence, without getting bogged down in details, this concert gained its final excellence of interpretation. With the Brahms F major sonata they answered final questions. Gerhardt, who had exemplefied different nuances in delicate spheres, convinced now with an overwhelming amount of expressivity...Power (in the first movement accentuated and condensed) and Melos (in the Adagio tender and fluent) were unified in unprecedented synthesis. Never seemed the old problem of dynamic balance to occur. They played together in a most kongenial way. Standing ovations!” |
| June 9, 1993 |
| Hessische Niedersächsische Allgemeine Zeitung |
| Recital mit Steven Osborne in Korbach (Beethoven C, Schnittke, Messiaen 'A L‘Eternite de Jesus', Rachmaninov) |
| “Great moments of chambermusic – Gerhardt and Osborne brilliant in Korbach |
| The Hessische Rundfunk had managed to lure two high-calibre artists into the province. Although the program consisted of works mainly from the 20th century they managed to delight the audience…Without eye contact and with a maximum of sensitivity they shaped surprising turns in the Allegro Vivace….Both musician played this impressive music seemingly effortless…The audience were amazed…They avoided exaggerations, all intensity came from within. No detail was ignored. As already in the Schnittke Sonata the dynamic shades were again an experience…Two encores as appreciation for the long applause…This wasa great moment of chambermusic.” |
| Margarete Filipponi, February 2, 2004 |
| Kölnische Rundschau |
| Haydn C Major in Cologne with the Gürzenich Orchestra under Gerard Korsten |
| “…Alban Gerhardt pulls out all the stops |
| ...In Haydn‘s Celloconcerto No.1 in C Major the conductor confined himself to discreet accompanying, while the young soloist Alban Gerhardt pulled all the stops of his considerable skills…Gerhardt played highly motivated, impressive the double stops in the cadenzas and his agile bow technique in the smashing Finale….his slender phrasing agreed especially well with his encore, the Sarabande of the 6th Bachsuite…” |
| Volker Fries, March 8, 2004 |
| Recital mit Steven Osborne in Köln, DlF(Beethoven C, Schnittke, Messiaen 'A L‘Eternite de Jesus', Rachmaninov) |
| “Dream Team: Pianist Steven Osborne and Cellist Alban Gerhardt in concert |
| …Gerhardt has a very juicy sound which he still manages to differentiate. In the Beethoven Sonata he and Osborne carved out strong contrasts. The dense music sounds tense and concentrated. Nevertheless there is enough freedom to make the instruments sing. In the „music of nerves“ by Schnittke both musicians showed off all their abilities: the piece becomes a universe illuminated by sound: atmospherically by the cello dominated outer movements, manically the quick middle movement, which Osborne crowns with breathtaking tinkling in the diskant. It was the spontaneous wish of the musicians to have the Schnittke-Sonata pass into the Messiaen movement. This turned out seamless, like a elegiac French coda of the Russian composition. Amazing how the pieces complement each other…Startling how superior Osborne mastered all technical hurdles…We won‘t have to wait a long time for the also in the Rachmaninov outstanding cellist. He will play beginning of March with the Gürzenich Orchestra.” |
| Matthias Corwin, January 29, 2004 |
| Recital with Cecile Licad at the Hürther Schlosskonzerte near Cologne: |
| “Performing until Exhaustion: |
| ….They impressed with their powerful expression and high intensity….Alban Gerhardt is an impetuous musician full of energy, Cecile Licad accomodated him with great flexibility… Both musicians complimented each other wonderfully and their interpretation are based on a profound musical consent which developped especially beautiful in Beethovens A Major Sonata…This was the climax for the enchanted audience of the concert with intensive inwardness and emotional density…Gerhardt has a warm and rich sound, while his partners strenght was great clarity and precisest execution…Their play was incredibly effortless…The applaus gigantic…” |
| November 3, 1999 |
| Landshuter Zeitung |
| Recital mit Steven Osborne in Landshut (Beethoven C, Schnittke, Messiaen 'A L‘Eternite de Jesus', Rachmaninov) |
| “Stirring interaction |
| After the last encore, the for cellists almost inevitable swan by Saint-Saens, the hall remained suspiciously long in silence. A first rate duo recital with a conceivabsly challenging program had preceded. Cellist Alban Gerhardt and pianist Steven Osborne weren‘t nobodies on stage indeed…Both impressed the entire evening with a lively and until the last nuance fine-tuned interaction. Fascinating charisma of two expressive musicians who turned their inside out free of any mannerisms and who confessed to their feelings…We experienced great urgency of their play, shocking-intensive extreme of expression…The Rachmaninov Sonata after intermission didn‘t seem enlessly long as usual. Gerhardt/Osborne performed it with a condense impetus, voluptuoulsy pensive or, if necessary, with great, wide singing sound. While doing so there was is always clarity and elegance, and the wonderful Testore cello was never covered by the piano flood. Marvelous ending of a probably everywhere impressive tour.” |
| Werner Haas, February 4, 2004 |
| Leipziger Volkszeitung |
| “...If the solo part of Prokofievs Sinfonia Concertante is played as Alban Gerhardt did, the success for this late opus of the Russian master is almost sure. It is fascinating how this young man creates sounds and technical fireworks in the highest positions like a magician, but at the same time lets his instrument sing wonderfully...” |
| March 22, 1998 |
| Leverkusener Anzeiger |
| Tripelconcerto in Leverkusen with Eji Oue and the Radiophilharmonie Hannover |
| “…Absolutely justified standing ovations for the Tripelconcerto – the fascination of an extraodiary art of performing…” |
| October 18, 1999 |
| Main Echo |
| Recital with Steven Osborne at the Rheingau-Musikfestival, Schloss Johannisberg |
| “Climactic Tension |
Sometimes the seemingly inconspicuous concerts prick up one's ears at the Rheingau-Musikfestival. The appearance of cellist Alban Gerhardt and pianist Steven Osborne belongs to this category without any doubt. Both musicians are, although young in years, superior masters of their instruments and they stand out for their potential of development as well as their thought-through interpretations. While being extremely succesfull soloists they are able to please as a duo entirely...Both musicians compress the material to the elemtary and push the tension by short-term stillstand to the top. In the second movement (of the Shostakovich Sonata) wildness breaks through, stopped only by the calmness of Osborne's lines in the slow movement. The finale brings us at first chaos, both instruments culminating, only to reconcile in a simple, almost classic theme. It is not so much their virtuosity which fascinates; Alban Gerhardt and Steven Osborne give us something quite rare: They let the listeners participate in the develompent of the music with all its frictions, break-throughs and short-comings. And this makes this concert to a special experience.” |
| Daniel Honsack, August 18, 2003 |
| Mainzer Allgemeine Zeitung |
| Elgarconcerto with the City of Birmingham Symphony and Sakari Oramo in Frankfurt |
| “It became obvious in the Elgar concerto, that Alban Gerhardt is an excellent chambermusician. He interpreted this late work by Elgar with an inner calm, at times brooding and holding back with a tender pianissiom. He emphasizes the rhapsodic structure und touches with a romantic sound in the Adagio. With his delicate and intimate performance Alban Gerhardt is saving Edward Elgar, whom we normally hear with his Engima Variations and the show-off Marches rather coarse-grained.” |
| 8.April, 2003 |
| Mannheimer Morgen |
| Shostakovich 1st Concerto in Mannheim with the State Philharmonic and T.Guschlbauer |
| “...For the sudorific solo part we enjoyed the young and excellent cellist Alban Gerhardt, who is not only a impressive virtuosic performer with great endurance but also fascinating expressive. His playing in the first movement had a touch of passionate obsession. In the middle movements Alban Gerhardt lit up the hall with his clear and singing sound and a beautiful sensbility in expression. Enthusiast applause demanded an encore: the first movement of Ligetis Sonata for cello solo...” |
February 4, 2002 |
| Mitteldeutsche Zeitung |
| Shostakovich 2nd Celloconcerto in Dessau with Carlos Kalmar |
| “…To that [perfect correspondence of the orchestra with the soloist] might have contributed the perfection of the Soloist. Inspite of his seeming in his own world he was always present. Be it fingerbreaking technique or romantizising glaze, Gerhardt had it all…” |
| May 25, 1999 |
| Martinu 1st Concerto in the Salzburger Gr. Festpielhaus with the Halle Philh. + W.Hauschild |
| “...Not until the melting bronze sound of Alban Gerhardt in Martinus Celloconcerto the audience was captured in silence…The young cellist let his superior virtuosity grow with great care. In the beautiful candenza he sang with his cello even more and inspired the orchestra to even smoother transitions…” |
| September 19, 2001 |
| Münchner Abendzeitung |
| “The soiree quickly found his star: the young cellist Alban Gerhardt. He managed the paradox trick to jump impetuously into a contemporary mammuth-work while staying superiorly above things – everything else but easy with the First Celloconcerto by Alfred Schnittke. Tumultous applause for Alban Gerhardt, the orchestra and conductor Yakov Kreizberg at the concert of the Munich Philharmonic in the Gasteig. There was eager attention during this performance... With powerful, opalescent changeable sound (and by heart!) Alban Gerhardt fascinated in this battle between solopart and...orchestra which ends in a transcendental Largo. Mit kraftvollem, schillernd wanderlbarem Ton (und auswendig!) fesselte Alban Gerhardt in diesem fast filmisch inszenierten Widerstreit zwischen Solostimme und wuchtig dazwischen fahrendem Orchester, der mit einem ins Übersinnliche weisenden Largo endet. He also showed a pressing variety of expression in his encore (the prelude of Bach’s 6th Solosuite)...” |
| September 30, 2002 |
| Münchner Merkur |
| Schnittke’s 1st Celloconcerto with the Munich Philharmonic and Yakov Kreizberg in Munich’s „Gasteig” |
| “...While Schnittke’s 1st Celloconcerto triggered at its premier in 1986 both criticism and approval it was now under the direction of Yakov Kreizberg with Alban Gerhardt as magnificent soloist celebrated enthusiastically... Alban Gerhardt managed, thanks to his superior, expressive while highly senstive sound-production and his great variety of expression, to gain dominance in this power-game, in which the Munich Philharmonic successfully took the counterpart. More tension wouldn’t have been possible...” |
| September 30, 2002 |
| Brahms Festival in Tutzing, Recital |
| “…which gave us the chance to hear the young world-class cellist Alban Gerhardt. With his eyes closed, lovingly embracing his cello, passionately reaching every heighths and depths of Brahms’ music, his rendition of the first Sonata made the enthusiastic audience sream for more…” |
| November 26 1999 |
| Münchner Tageszeitung |
| “...Soloist Alban Gerhardt worded desperate longing and helpless wandering through the universe of sound with expressiv energy...and also the hymnic super-elevation of the Largo developped a breath-taking inner tension...” |
| September 30, 2002 |
| Neue Ruhr Zeitung Essen |
| With Walter Weller and the Essen Philharmonic |
| “...all the attention on the soloist Alban Gerhardt: and he choose definitely the expressive approach for the Haydn D-Major-Concerto. Sometimes caring sensitively for the details, then coming out passionately as if he was taught by Mischa Maisky...Everybody felt that this young "Berliner" cared most about the Viennese Master. The first cadenza was an exciting climaxed inner monologue, and in the Adagio he put his entire soul. Bravos forced an exquisitely perfect Bach encore...” |
| March 14, 1998 |
| Neue Zeit |
| “...How to enchant with modern music was exemplified by the young cello virtuoso Alban Gerhardt from Berlin, most exquisitely playing the cello concerto by Vladimir Vogel (1954) this year at the Music Biennale of Berlin. On those evenings the 22 year old gave his debut with the Berlin Philharmonic Orchestra aroused with Tchaikovsky's "Rokoko-Variations" unanimous jubilations of the audience as well as of the orchestra. His impecably tender singing performance was filled with wit and sparkle, arrested the public from the beginning to the very end. He implied that a soon reunion with the orchestra is a certainty. The musical climax of this philharmonic concert..” |
| October 14, 1991 |
| Reutlinger Generalanzeiger |
| Recital with Markus Groh in Mössingen |
| “Power, Intensity, Pleasure |
| ...The sound of the cello filled the entire hall, but we were at the same time amazed by Alban Gerhardt's ability to elicit the most tender notes out of his instrument...He allowed the melodies to carry him, but still kept the dominance....and shaped the music after his imagination...which are very romantic without being overdone....Gerhardt made his cello sing the lyrical melodies and the entire performance breathed the spirit of the music...The spark of their inspiration took over the audience. Even the most difficult passages seemed to be no problem at all....” |
| February 25, 2000 |
| Rheinische Post |
| Tripelconcerto in Leverkusen with Eji Oue and the Radiophilharmonie Hannover |
| “…A splendid trio of soloists took the lead in the so-called Tripelconcerto by Beethoven… They inspired with their great collaboration. They united their virtuosic joy of playing and technical brillance with sensitive musical expression and an fine feeling for effects…” |
| October 28, 1999 |
| Ruhrnachrichten |
| Elgarconcerto with the City of Birmingham Orchestra under Sakari Oramo in Düsseldorf and Haydn D in Dortmund |
| “Gerhardt’s rethoric on the cello |
| ...Gerhardt himself loves the fresh, flexible approach. Accordingly he takes the late romantic concerto by Elgar dashingly, spared us the exaggerated bath in the sound, shakes our well-worn habits of listening to this piece with some surprising turns...The interpretations of both concerti had in common the virtually rethorical phrasing. Gerhardt’s sound can be almost fragile narrative, which ended in the Adagio of the Haynd in an almost philosophical reflecting cadenza...” |
| Martin Schrahn, April 9, 2003 |
| Recital with Markus Groh in Mössingen |
| “Concert A Superb Joy |
| ...Alban Gerhardt articulated form, color and dynamic of each note extremely precise and gave them at the same time blooming life. His melodies developped out of the nothingness and disappeared into space. In between there was exciting drama and sweet melancholy...For the audience a pleasure...” |
| February 25, 2000 |
| Sächsische Zeitung |
| Dvorak Celloconcerto with Dresden Philharmonic under Dmitri Kitaenko |
| “…The more impressive was the Dvorak Cello Concerto with the 34-year-old Alban Gerhardt…Outstanding was the collaboration with the soloist, who played the concerto, which is one of the most difficult while at the same time the most beautiful of his kind, with an unusual intensity of expression. Inspite of his very determined approach and him savoring the drama which lays in this work, there was a high degree of calm in the solo part. This didn‘t even disappear during the technically demanding passages like the double stops lines of the first movement, and it found its climax in the second movement which Gerhardt played in the style of an epic ballad, whose calm flow got often struck all over sudden by severe drama. The tension at the end of the movement was very difficult to release for musicians and audience alike. The intensity of the quiet, which develops from within and manages without any embellishment, had also its effect in the finale…” |
| Peter Zacher, February 9, 2004 |
| Stuttgarter Nachrichten |
| 1st Schnittke Celloconcerto with the Stuttgart Radio Orchestra under Y.Kreizberg |
| “Alban Gerhardt and the RSO – Music as struggle for survival |
…The cello as expression of the tortured human soul, the orchestra as cipher for the arbitrary brutality of the masses. Alban Gerhardt took on this fight in the concert with the Radiosinfonieorchester Stuttgart. His cello sound was inquiring and fragile at the beginning of the first movement, gaining expressivity and warmth after the first attack of the orchestra; Alban Gerhardt counters the raw violence of the cutting brass and the raging percussion section with his gentle and fully vibrated sound. At the start of the second movement it appears as if the cello fortified itself within the fight – Gerhardt plays the melodic line with little vibrato and lots of weight on the bow, the sound hardens and gains in substance.The interpretation of the young cellist digs far below the surface. With the perfectly matched Yakov Kreizberg as conductor he has thinking partner to his disposal…Consolation isn‘t offered until Alban Gerhardt‘s encore: the prelude of the 6th Bach Suite in D Major…” |
| Georg Rudiger, April 24, 2004 |
| Stuttgarter Zeitung |
| 1st Schnittke Celloconcerto with the Stuttgart Radio Orchestra under Y.Kreizberg |
| “…The solo cello stands its grounds with a lamenting, sometimes desperately screaming sound in the first three movements…As if Schnittke saw there, in the darkest spot, a light, the concert ends with a at first pain- und lustfully flaring up and finally in the highest harmonics register vanishing sound. Music as a boundary experience, too existential for a young musician such as Alban Gerhardt? Not at all…He has the necessary technique and emotional maturity for this music without any doubt…” |
| Frank Armbruster, April 24, 2004 |
| Volksstimme |
| Shostakovich 2nd Celloconcerto in Dessau with Carlos Kalmar |
| “Touching Concert with Phantastic Soloist: |
| …Alban Gerhardt enchanted us with the for his play typcial fascinating mode of expression…The soloist with his eyes closed is one with his instrument and the music. He lets his cello sing brilliantly, notes and cords become emotions…The audience thanked the pleasant soloist with roaring applause…and he gave the excited audience with Bach another impressive proove of his mastery…” |
| May 25, 1999 |
| Westdeutsche Allgemeine Zeitung |
| Haydn D Major in Dortmund with Philharmonics and Arthur Fagen |
| “...Soloist was Alban Gerhardt, who moved the classical concerto with his passionate and powerful sound in the proximity of the great romantic solo concertos. The cellist spun beautiful lyrical lines in the second movement as in general the grand lyrical phrase seems to be his strength, which he confirmed in his choice of encore, the Ligeti solosonata...” |
| Martina Lode-Gerke, 9.April 2003 |
| With Johannes Goritzki and his Chamber Orchestra in Wuppertal |
| “...the absolute highlight was the performance of the rarely heard Schumann Concerto. Alban Gerhardt, simply fabulous and at the end ready to die played its solo part. Besides his eminent technical capabilities he catapulted his audience to the brink of "Forget to Breath" (especially in the slow movement). Considering that he is only in his late twenties but that he projects already the art of the cello like a Pierre Fournier, one can easily predict a long world career...” |
| November 14, 1997 |
| With Walter Weller and the Essen Philharmonic |
| “Cellist makes the strings sing: |
| The young cellist Alban Gerhardt can be measured with the highest standards. In his hands Haydn's Celloconcerto in D Major became an exciting delicacy for the ears. Gerhardt has a natural musicality which he expresses seemingly without any effort and direct through his instrument. In spite of all his virtuosity the joy of his playing is dominating: and therefore his art becomes an enrichment for the listener. His interpretation was as polished as it was emotional, and he achieved even in the most virtuoso passages a singing sound out of his cello. He showed taste in the cadenzas which seemed so easy for him although being filled with technical difficulties as arpeggi and double stops. In the Adagio he showed his admirable ability to shape phrases and to literally make notes bloom. For the ovations Gerhardt thanked his audience with a masterfully performed Preludium by Bach...” |
| Essen, March 14, 1998 |
| Westdeutsche Zeitung |
| “...Highlight of the evening was by far the Schumann Cello Concerto with Alban Gerhardt as soloist. For already seven years he is considered as the best cellist of the younger generation, and he justified his fame. He demonstrated not only technical but also musical abilities of first class, which put him directly on the same level with the other famous star cellists. He played the three connected movements with great artistic maturity, equally emotional and a huge "singing" sound, while corresponding with the orchestra excellently. Because of this overwhelming performance of Mr. Gerhardt of whom we certainly will hear in the future.” |
| November 6, 1997 |
| Westfälische Rundschau |
| Haydn D Major in Dortmund with Philharmonics and Arthur Fagen |
| “Soloist Alban Gerhardt received tumultuous applause |
| His sound is of seductive, flattering warmth. Cellist Alban Gerhardt enchanted his listeners with these wonderful cantilenas of which this concerto has plenty of. He leads his instrument absolutely secure and without hesitation into the highest positions and sonorous depths, with wide swinging phrasing, always searching for the truth of the music, which he sees as his biggest challenge. And he integrates the highly virtuosic passages in the great gesture with an virtually baffling security. After tumultous applause he offered as encore a solo sonata by Ligeti. He again developped rather unexpectedly beautiful melodical lines, internalizing moments and nuances in sound of fascinating attraction..” |
| April 9, 2003 |
| Wuppertaler Zeitung |
| Rubinstein Concerto with G.Hanson and Wuppertal Symphony Orchestra |
| “Ovations for a tremendous musical experience |
| Alban Gerhardt presents himself with the interpretation of Anton Rubinstein’s cello concerto in a-minor as a cellist who is cut out to be very soon one of the few big international cello stars. With his magnificently big, round and singing sound, his absolutely beautiful, sensuous phrasing and his fiery, extremely subtle playing he didn’t leave any wishes open. He also showed is really great class in the encore, the slow movement of a Bach Suite (No.6).” |
| Hartmut Sassenhaus, November 6, 2003 |
