Daniel Röhn. When talent is passed on from generation to generation, it often happens in an unpresuming way. Such is the case with Daniel Röhn – one of the most remarkable and talented violinists of the present day. What is so fascinating about him and his playing is his natural approach to great traditions and his clear perspective on them.

Over a number of decades, both his grandfather and father were renowned concertmasters on the universally unique German orchestral scene; now the new generation has joined those ranks as a soloist and chamber musician, who will no doubt contribute significantly to the world of violin. His first two CD releases featuring Mendelssohn’s Violin Concerto and virtuoso 19th-century works for violin and piano earned him several international awards. When describing his playing, it is hardly sufficient to simply mention his seemingly effortless, brilliant virtuosity. Daniel Röhn’s heart-meltingly warm tone and his almost narrative gestures are what endear audiences to him – he has a way of expressing himself through music that we might almost have thought had been lost.

It is therefore hardly surprising that Ruggiero Ricci, one of the most distinguished violin virtuosos of the 20th century, said of Daniel Röhn already when he was very young: “His playing is reminiscent of the old masters:” And indeed, to this day, the young man often augments such compliments by adding, with his special brand of self-irony: “I took most of my inspiration from all these Kreislers and Heifetzs. My enamoured teacher was my parents' LP cupboard”. As a result, Daniel Röhn not only plays the great Classical and Romantic concert repertoire, guesting with the likes of the Bavarian Radio or South-West German Radio symphony orchestras, or the Royal Stockholm Philharmonic Orchestra; he also breathes new life into the traditional wit and Viennese charm of the character pieces by Fritz Kreisler in a way that hardly any other violinist alive today can do. This applies as much to classic evergreens like “Liebesfreud” as to the virtuoso arrangements of works by Bach, Paganini and Wieniawski. It is therefore no surprise that he has quite a bit of fun with the bonus track in the form of a dialogue with Kreisler spanning many decades.



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