Reviews

Page

“Sensation at the Berlin Festival…” [Complete Stravinsky violin works] “Paganini-like Violinist” —Helsingin Sanomat

“… a mixture of technical fireworks, emotional heat, and intellectual command the like of which is not often encountered in a debut.” —Donal Henahan, The New York Times

“Triumph of intelligent artistry” —Die Welt

“Schulte … applies all his resources of brain, body and heart to the exploration of the music’s meaning, and the journey of exploration is as exciting as the discovery of what the destination has been.” —Richard Dyer, Boston Globe

“If his art were transmuted into dance, he would be a leading Balanchine dancer: the moves are precisely but not mechanically timed; destinations are exactly reached; dynamics of attack and repose are sure; and as he moves one’s mind moves with him. His tone is attractively lean, not fat and throbbing. What he does is beautiful.” —Andrew Porter, The New Yorker

“Schulte’s command of the difficult solo part was absolute; it was amazing playing, but no one could listen in amazement because this was no mere stunt. Schulte’s exact intonation over rapid shifts of register and position and his chameleon tonal qualities created a musical character of density, captivating quirk, and worthy substance – someone, in short, that we could care about. [Première of Donald Martino’s Violin Concerto] —Richard Dyer, Boston Globe  1997

“If you’re ever going to have an Elliott Carter epiphany, then this might be the disc to bring it on. It’s not only spectacularly played and recorded–indeed, this performance of the Violin Concerto with soloist Rolf Schulte must be classed with the greatest violin and orchestra recordings ever made”  —David Hurwitz, classicstoday.com

“The Four Lauds for Solo Violin alone make this recording worthwhile. Despite the amazing complexity of the music being performed, Schulte makes it sound almost easy. His technique is copious, his sound is engaging and multi-faceted, and his emotional output easily runs the gamut between ferocious and tender.” —Mike D. Brownell, All Music Guide

“…from the first rising line of the violin the air almost literally crackled with excitement.”  —Richard Binder, Telegraph

“He plays with keen virtuosity, demonic intensity, and a sound palette ranging from the silken to the disturbingly raw. Yet every phrase seems generated by a musically reasoned, intellectually resonant idea.” —Anthony Tommasini, Boston Globe

“…you immediately notice Schulte’s intense yet tight vibrato, which adds a lot to the energy and textural clarity of the score. Schulte is an outstanding soloist with an old-fashioned sound—like Francescatti or maybe even Schönberg’s commissioner Louis Krasner, only with better intonation.” —American Record Guide

“Webern’s Four Pieces were magnificently presented, both by Mr. Schulte and his accompanist, James Winn. They took exquisite care over detail and over matching one another in the quiet music, where the feeling was still but fully alive.” —Paul Griffiths, The New York Times

“…so farbig abgesetzten Nuancen der Tongebung, die Feinheiten zwischen einem spiccato, einem détaché, einem staccato volante, einem martelé, einem sautille. Und daneben die jedes Detail sensibel präzisierende Intensität, zu der gewiß ein Heifetz das Vorbild lieferte” —Heinz Josef Herbort, Die Zeit