Christian Tetzlaff

Aktuelle Konzerttermine

Mi. 22042020

Kammermusik: Brüssel

Palais des Beaux-Arts Bruxelles
Bruxelles, Belgium

Ludwig van Beethoven: Streichquartett Nr. 13 B-Dur op. 130 mit Großer Fuge op. 133
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Peter I. Tschaikowsky: Streichquartett Nr. 3 es-Moll op. 30

Do. 23042020

Kammermusik: Meran

Kurhaus & Stadttheater Meran
Meran, Italy

Peter I. Tschaikowsky: Streichquartett Nr. 3 es-Moll op. 30
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Ludwig van Beethoven: Streichquartett Nr. 15 a-Moll op. 132

Fr. 24042020

Kammermusik: Bozen

Konservatorium „Claudio Monteverdi“ Bozen
Bolzano, Italy

Ludwig van Beethoven: Streichquartett Nr. 13 B-Dur op. 130 mit Großer Fuge op. 133
Ludwig van Beethoven: Streichquartett Nr. 15 a-Moll op. 132

Sa. 25042020

Kammermusik: London

Wigmore Hall
London, United Kingdom

Arnold Schönberg: Streichquartett Nr. 1 d-Moll op. 7
Peter I. Tschaikowsky: Streichquartett Nr. 3 es-Moll op. 30

Discografie

Presse

Beethoven and Sibelius Violin Concertos

theclassicalreview.com by Leighton Jones, September 21, 2019 – Having recorded the concertos of Beethoven and Sibelius previously, now at the peak of his career, violinist Christian Tetzlaff returns to these two pinnacles of the repertoire. In this pairing for Ondine, Tetzlaff demonstrates how his artistry as a musician, poet and communicative artist have matured into something highly distinguished. Tetzlaff in these new recordings is paired with the Deutsches Symphonie-Orchester Berlin conducted by Robin Ticciati, who have bonded naturally to produce interpretations elevating these works to another level. Together they curate the most interesting path into the extraordinary emotions beneath the surface of the notes. Tetzlaff’s earlier, well-respected rendition of Beethoven’s Violin Concerto with David Zinman and the Zürich Tonhalle Orchestra has a more vivacious feeling. Now a more muted opening movement evolves and grows, fully realizing the allegro ma non troppo indication. The exposition is paced and measured, the solo violin enters with a budding sound which grows organically out of the texture to bloom like a crimson rose. Tetzlaff’s tone has matured into the most exquisite sound, rich and luscious across the complete range. The cadenza, from the piano arrangement of the work, unfolds seamlessly into the coda as it maintains a dignified restraint. The slow movement has a hushed intensity, magnified by hugely impressive dynamics from both Tetzlaff and the Deutsches Symphonie-Orchester, bringing a sense of intimacy. Throughout the quietest pianissimos, Tetzlaff’s tone is unwavering. Launching effortlessly into the final movement there is a measured momentum which becomes captivating. Only on reaching the end of the concerto […]